@museumwnf/metalwork-data 1.0.1

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+{"008d8895-3ae0-522b-83a2-64ff01799f07":{"name":"Iron awl","description":"Iron point awl with a handle made of a branch of deer antler. Awls are used for piercing and fibre manipulation. The holes created by an awl may be used as a guide for thread.","type":"Iron awl","holder":"The Jordan Museum","owner":"Department of Antiquities","dates":"600-332 BC","location":"Amman","dimensions":"L: 12cm, W: 1cm","method_for_datation":"The excavation team in Dayer 'Alla dated this tool based on the pottery found in the near vicinity.","obtention":"Loan","author":"Najd Sweidan","copy_editor":"Lisa Kelman","materials":["Iron and Deer antler"]},"019530a6-cc5d-510e-8a02-0122394f5817":{"name":"Revolver","alternate_name":"Lebel revolver; Etienne 8mm (solid frame, 9-chamber cylinder, ejector, grip silver plates, checking, barrel)","description":"The Lebel Revolver was the standard issue sidearm in the French military during the First World War, produced in Saint Etienne and used by the French army between 1892 and before 1924. The 1892 Model is a double/single action, six round cylinder revolver that fires 8-millimetre rounds. It was issued to officers in the French Army, Navy, and National Gendarmerie, amongst others. It is commonly called the Lebel Revolver after the gun designer Colonel Nicolas Lebel. For loading and releasing the empty cases, the chambers are accessed through swinging the cylinder to the right. Originally chambered for an 8mm gunpowder cartridge round, later models issued during World War I and thereafter fired the same 8mm cartridge loaded with smokeless powder. Serial number 21093.","type":"Handgun; arms; firearms","holder":"Jordan Folklore Museum, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"France, St. Etienne","author":"Mohammad Najjar","copy_editor":"Daniel de la Vega"},"01b5fb2d-6f55-548b-abb2-c28971f1148f":{"name":"Cup and a stand","alternate_name":"Personal belonging of Dimitrija Chupovski","description":"Dimitrija Chupovski (1878-1940) was a distinguished Macedonian intellectual who lived and worked in Russia. Being the President of the Slav-Macedonian Scientific Literary Society in St. Petersburg, he contributed to the publishing of historical memorandums and other official acts that presented the national ideology and objectives for unity and liberation of Macedonia. He also published numerous articles drawing attention to the partitioning of Macedonia after the Balkan Wars. In his struggle for preserving the integrity of Macedonia he wrote various memoranda to governments of western countries on many occasions.","type":"Object for personal use","holder":"Museum of Macedonia","dates":"Early 20th century","location":"Skopje","author":"Nada Andonovska (author)","copy_editor":"Daniel de la Vega"},"01cb6c77-1432-5b81-8e1d-1049fe9a45ff":{"name":"Incense burner.","description":"An incense burner that assumes a spherical shape, and which divides into two hemispheres, one half of which contains the coal vessel used to light the incense. The object is decorated with vegetal decorative motifs such as half-palm fans, quatrefoil leaf designs and geometric decoration such as quasi-circular shapes. The pierced decoration was incorporated into the empty spaces in between the other decorative components; fundamentally the piercing was used to create apertures through which incense could dissipate.  \nThis piece is made out of copper and inlaid with gold and silver. Metal-inlay techniques were practised in Egypt since the Pharonic period and continued in use until its proliferation during the Mamluk period. The widespread use of metal-inlay techniques was furthered during the periods of Ayyubid and Mamluk rule by the migration of craftsmen from Mosul in Iraq to Egypt specialising in inlay work.  \nMany designs of incense burner were used to perfume a variety of places. They were used in mosques, churches, residences and for a variety of occasions. Different incense fragrances were used, for example Indian sandalwood, frankincense, musk and camphor among others.","short_description":"This inlaid burner is made up of two halves, one of which contains the fire bowl, while the other is perforated to allow the incense to be diffused. Incense was used in Muslim society for cleanliness and purification in houses and public establishments. Incense was made of musk, sandalwood and camphor.","type":"Incense, burner, copper","holder":"Museum of Islamic Art","dates":"Hegira 8th century / AD 14th century.","location":"Cairo","dimensions":"Diameter 13 cm.","method_for_datation":"The piece was dated based on a study of its production techniques, which included the inlay work with gold and silver, and the decorative piercing. Dating was also possible by studying the decorative components of the incense burner and also by comparison with analogous objects held in other museum collections such as at the British Museum where there is an incense burner (Inv. No. 781230682), published in the exhibition catalogue on Mamluk art by Esin Atil (1981).","method_for_provenance":"Metal-inlay techniques flourished during the Ayyubid and Mamluk periods in both Egypt and Syria to where craftsmen specialising in this technique migrated from Mosul in Iraq.","provenance":"Egypt and Syria.","obtention":"This object was purchased in 1945 from a dealer of antiquities, Ralph Harari.","bibliography":"Abu Shal, N., *Al-Mabkhara fi Masr al-Islamiya \\[The Incense Burner in Islamic Egypt\\],* MA thesis, University of Cairo, 1984.  \nAga-Oglu, M., “About a Type of Islamic Incense Burner”, *Art Bulletin*, No. 27, 1945.  \nAtil, E., *Renaissance of Islam: Art of the Mamluks,* Washington D.C., 1981, p.59.  \nBadr, M., *Atharal-fan al-Saljuqi ala al-hadara wa al-fan fi al-asrayn al-Ayyubi wa al-Mamluki fi Masr \\[The Influence of Seljuq Art on Civilization and Art during the Ayyubid and Mamluk Periods in Egypt\\],* PhD thesis, University of Cairo, 1995.  \nStierlin, H., and Stierlin A., *Splendours of the Islamic World: Mamluk Art in Cairo (1250–1517),* London, New York, 1997.","linkcatalogs":"IAM_EG_EN_001","author":"Muhammad Abbas Muhammad Selim","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["copper.","Incense","Incense burner","inlay","perforations","pierce"],"materials":["Copper inlaid with gold and silver."]},"0272b11d-f343-5d1e-bb66-76dc201253bb":{"name":"Mosque lamp of Sultan Al-Nasir Muhammad","short_description":"This mosque lamp consists of two parts with original production dates that are separated by a hundred years.  The top – later – part bears the following inscription: \"Glory to our Lord, the Sultan, the victorious king, Nasir al-dunya wa-l-din, the father of virtues, Muhammad bin as-Sultan al-Malik al-Mansur, may his victory be mighty.\" Al-Nasir Muhammad ruled with interruptions from AD 1293 to 1341. The lower part with enthroned princes and musicians is from the first half of the thirteenth century.","type":"Metalwork","holder":"MAK – Museum of Applied Arts","dates":"13th – 14th century","location":"Vienna","dimensions":"Height: 34.5cm","provenance":"Egypt, Cairo","obtention":"Purchase","bibliography":"Albrecht, Helmar, *Kunst des Islam. Ausstellung im Schloss Halbturn*, Vienna: MAK, 1977: cat. 122, ill.","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-50949","author":"Mio Wakita-Elis","keywords":["brass","Mosque interior decoration","Mosque Lamp","Sultan Al-Nasir Muhammad"],"materials":["Brass with engraved decorations"]},"02bfb5f9-4ed9-5841-bc83-f0e34fd2d0aa":{"name":"Incense burner","short_description":"This incense burner in the form of a stylized parrot or falcon belongs to a small group of bronze sculptures, ascribed with a fairly great degree of probability to Umayyad Spain.  \nThe bird is holding on with strong claws to a perch across a sphere that might have been placed on a tall pedestal. The body is engraved with feathers, palmettes, and a *Kufi* inscription.","type":"Burner, metalwork","holder":"The David Collection","dates":"Hegira late 4th–beginning of the 5th century / AD late 10th–beginning of the 11th century","location":"Copenhagen","provenance":"Spain, Cordoba?","keywords":["Burner","metalwork"],"materials":["and engraved bronze","cast","punched"]},"02d54027-4e37-5e8b-a5f1-0828055c346d":{"name":"*Âftâbe* ewer","description":"The profile of this ewer for water or wine suggests glass pieces, which are more expensive to produce and more fragile. Coppersmiths translate the models into bronze or brass because Islam disapproves of gold and silver dishes.","type":"Metalwork","holder":"Museum of the Arab World Institute","dates":"Hegira last quarter of 3rd-4th century / AD 10th-11th century","location":"Paris","dimensions":"Height: 34.4cm, Diameter: 15cm, Opening diameter:  7.2cm, Base diameter: 8cm","provenance":"Iran","obtention":"Purchased on advice of Delavenne-Lafarge, 1988.","bibliography":"Allan, J.W., *Nishapur: Metalwork of the Early Islamic Period*, New York: Metropolitan Museum of Art, 1982: 42-43, 82-83.  \n  \nBaer, E., *Metalwork in Medieval Islamic Art*, New York: State University of New York Press, 1983: 90; Fig. 70.  \n  \nDelpont, E., et al., *Album du musée*, Paris: Somogy éditions d'art, 2012: 386.  \n  \nFehervari, G., *Islamic Metalwork in the Keir Collection*, London: Faber and Faber, 1976: 34-35; Fig. 5 and Pl. Iic.  \n  \nFondation L. A. Meyer, Institut d'art musulman, Jerusalem, 1980: p. 10.  \n  \nKeene, M., *Selected Recent Acquisitions*, Kuwait: Kuwait National Museum, 1984: Fig. 26  \n  \nLutfiya, A., *The Central Asian art of Avicenna Epoch* Dushanbe: Irfon Publishing House, 1980: 119.  \n  \nMelikian-Chirvani, A.S., *Islamic Metalwork from the Iranian World. Catalogue of the Victoria and Albert Museum*, London: H.M.S.O., 1982: 85-86, Fig. 19.","translator":"Judy Harter","materials":["Cast bronze and engraved decoration","with an ornamental band"]},"03a41b10-16ab-52d7-8fef-d551e00d69c7":{"name":"Vase (three items)","description":"These massive gold and silver damascened engraved steel vases from 19th century Qajar-era Iran showcase exquisite craftsmanship and elaborate design. They feature a distinct shape, characterised by a trumpet foot, bulbous body, and decorative handles resembling curling arabesques.  \nThe surface of these metalworks is adorned with intricately etched and damascened decorations depicting scenes probably inspired by the *Shahnameh* (*The Book of Kings*). These scenes primarily portray royal garden parties, known as *bazm* or feast, where music, dance and merrymaking prevail. This decorative tradition reflects Persian kingly protocol, emphasising the concepts of *bazm* (feast) and *razm* (fight). *Bazm* is illustrated with joyful gatherings in royal gardens, while *razm* is depicted through scenes of combat and hunting.  \nWith their intricate designs and symbolic motifs, these metalworks provide insight into the rich cultural legacy of Qajar Iran in the 19th century. They serve also as ceremonial items used in dining and festive gatherings, enhancing their significance in depicting the customs and practices of the time. The vases are crafted using damascening, an ancient metalworking technique that involves inlaying gold and silver onto hard metal surfaces. The intricate designs are engraved in the steel surface, and then gold and silver are carefully hammered into these grooves. This meticulous process resulted in the detailed decorations on the vases, highlighting the skill and artistry of Qajar-era Iranian craftsmen.","type":"Metalwork","holder":"Sheikh Faisal Bin Qassim Al Thani Museum","owner":"His Excellency Sheikh Faisal Bin Qassim Al Thani","dates":"Hegira 13th century / AD 19th century","location":"Doha, Qatar","dimensions":"Height: 74cm, length: 22cm","place_of_production":"Iran, Khorasan or Herat","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, techniques, style and analogies.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, techniques, style and analogies.","provenance":"Iran","obtention":"Purchased","author":"Mahmoud Saber","copy_editor":"Judy Harter","keywords":["gold","hunting","Iran","Qajar","Shahnameh","silver","steel","vase"],"materials":["brass","embossing","Engraving","metal"]},"03c579c8-fe6c-5cb4-a41d-f10cb2e3df25":{"name":"Basin","description":"A basin in the form of a deep container with a prominent rounded rim, ornamented with a band of lobed medallions adorned with pictorial scenes of mythical creatures, a rider on horseback and others with inscriptions and vegetal motifs depicting a tree with branches, rosettes and birds. The decorative band is enclosed between two narrow friezes of undulating foliate motifs and irregular lozenge shapes. The exterior is adorned with cylindrical and circular medallions enclosing representations of birds, mythical creatures and human figures. The underside of the basin is decorated with interlaced lines in the form of a braid. The basin has a circular lid, adorned with oval and circular medallions enclosing depictions of mythical creatures, birds, animals and human figures. It is surmounted by a neck ornamented with vegetal arabesque motifs, topped by a protruding circular element. The rim of this element is adorned with interlaced braided lines, while its field is adorned with horizontal bands of repeated inscriptions, framed above and below by simple vegetal ornament.","type":"Basin","holder":"Sheikh Faisal Bin Qassim Al Thani Museum FBQ Museum","dates":"AH 12th century / AD 18th century","location":"Ash-Shahaniyah, Qatar","dimensions":"Diameter: 33cm, Length: 10.5cm","provenance":"Iran","author":"Zeina Al Amad","copy_editor":"Zeina Al Amad","keywords":["bassin","Copper","water"],"materials":["copper","engraving and incising"]},"052b823a-7b5b-57e4-81b0-9bf30e511fe3":{"name":"Stirrup","short_description":"This pair of stirrups is made of engraved iron decorated with glass, jade and gilding. The long, wide and curved treads of these forged iron stirrups were particularly suited to the heel-less boots worn by the Ottomans. Their sharp edges served as substitute spurs.","type":"Armour","holder":"Kunsthistorisches Museum","dates":"Hegira late 11th – 12th century / AD late 17th – 18th century","location":"Vienna","dimensions":"Height: 16.5cm","method_for_datation":"Comparison with similar objects","method_for_provenance":"ILG / BOEHEIM, 1883  \nInventory of Furniture and Small Artefacts held at Ambras Castle, page 5","provenance":"Turkey?","obtention":"Collection of Ambras castle; documented since AD 1882","bibliography":"Scheicher, Elisabeth et al. (eds), *Kunsthistorisches Museum Sammlungen Schloss Ambras. Die Kunstkammer*, Innsbruck: Kunsthistorisches Museum, 1977.","author":"Veronika Sandbichler","copy_editor":"Liz Cooper","keywords":["equipment","horsemanship","iron","metalwork","military object","military wear","Ottoman army","ottoman empire"],"materials":["glass","Iron","jade"]},"05c797c1-831b-5418-8173-8df70a532e46":{"name":"Incense Burner, Lion Head","short_description":"This lion head is a carefully executed example of an animal-shaped incense burner, a type predominantly used in Khorasan and Middle Asia. Cat or bird shapes are most common.  \nThe facial features are carefully modelled, with big oval holes indicating the eyes and a prominent nose. Above the eyes, thin lines imply eyebrows that lead into the ears, which in turn show a spiraled decoration. The mouth, although closed, has perforations and several outgrowths, possibly indicating teeth. The whiskers show a particular shape, almost moustache-like, ending behind the ears. Individual hairs are illustrated through carved lines. The neck is entirely conducted in openwork. Though at first glance the vegetal ornaments seem a bit random, they are mainly organised in circular shapes. Just on the rim of the neck an inscription-belt is found. In the front, the script is interrupted by a lug which was used to attach the rim to its body.  \nSimilar lion-shaped incense burners can be found among many collections. In most cases the whole artefact is preserved. Though execution and decoration vary tremendously, most of them clearly show a similar manner of usage. The head of the animals were separate pieces, fastened to the body via a bail and pin system.  \nMost comparable pieces are attributed to the 11-12th centuries. However, an X-ray fluorescence spectroscopy of the Bumiller object revealed a high proportion of nickel. Since nickel was used in higher ratios only in later times, this object might be a later production from the 15th or 16th century.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 5-11th century / AD 11-16th century","location":"Bamberg","dimensions":"Height: 14.4cm, Width: 12.1cm","method_for_datation":"By stylistic and scientific analysis","provenance":"Ghazni","obtention":"Purchased from A. Ahmadi, Teheran in 2013","bibliography":"Baer, Eva, *Metalwork in medieval Islamic art*, Albany: State University of New York Press, 1983  \nFehérvári, Geza, *Islamic metalwork of the eighth to the fifteenth century in the Keir Collection*, London: Faber and Faber, 1976.  \nFolsach, K. v., *Islamic art. The David Collection*, Copenhagen: Hendriksen, 1990.  \nGladiß, A. von and Kröger, J., *Islamische Kunst. Metal, Stein, Stuck, Holz, Elfenbein, Stoffe. Staatliche Museen Preußischer Kulturbesitz. Museum für Islamische Kunst, Islamische Kunst: Loseblattkatalog unpublizierter Werke aus deutschen Museen*, Vol. 2, Mainz-Rhein: P. von Zabern, 1985.  \nLoukonine, V., and Ivanov, A. A., *Persian art. Lost treasures*, London: Sirocco, 2003.  \nMakariou, S. and Wise, S. (eds), *Islamic art at the Musée du Louvre*, Paris: Hazan, 2012.  \nMelikian-Chirvani, Assadullah Souren, *Islamic metalwork from the Iranian world, 8-18th centuries*, Victoria and Albert Museum catalogue, London: HMSO, 1982.  \nMustafayev, Şahin and Moldahmetovič Bajpaķov, Karl, *Toreutics, The artistic culture of Central Asia and Azerbaijan in the 9th - 15th centuries*, International Institute for Central Asian Studies. Project manager: Sh. Mustafayev, Acad. ed. Board: K. Baypakov; Sh. Pidaev; A. Khakimov ; Vol. 3, Samarkand-Tashkent: IICAS, 2012.  \nPavaloi, Margareta and Kalter, Johannes (eds), *Usbekistan Erben der Seidenstraße*, Stuttgart: Mayer, 1995.  \nSamling, Davids, *Islamisk Kunst. The David Collection: Islamic art*, Copenhagen: Davids samling, eksp., Kronprinsessegade 30, 1975.","author":"Tamara Haller","copy_editor":"Daniel de la Vega","keywords":["Incense burner","lion","lion head","metalwork","openwork"],"materials":["Bronze","cast","perforated"]},"074fe362-9f4c-5b1b-b022-d07db8b96020":{"name":"Healing bowl","description":"This brass talismanic healing bowl, dated to the 12th–13th century Seljuq and Anatolian Beyliks period, was traditionally used in Anatolian folk medicine for spiritual wellbeing, protection from the evil eye, and relief from night terrors and insomnia. Water placed inside the bowl was blessed through recitation, then either drunk or applied to the body to transmit its sacred power. The bowl is richly adorned on both its inner and outer surfaces with finely engraved Kufic inscriptions.","type":"Bowl","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"AH 6th–7th century / AD 12th–13th century","location":"Istanbul","dimensions":"Diameter 20,5cm","place_of_production":"Anatolia","method_for_datation":"Date of production was determined by Islamic metal artefacts expert Güner Liman.  \nThe inscriptions on it were also read by Fuat Recep, an expert in Ottoman archival texts.","method_for_provenance":"Its date was determined by Islamic metal artefacts expert Güner Liman.  \nThe inscriptions on it were also read by Fuat Recep, an expert in Ottoman archives.","obtention":"It was displayed for 20 years in the window of the antique shop of “Parisli Mustafa” in the Cevahir Bedesten (Grand Bazaar) and was sold at auction after his death.","keywords":["brass","healing bowl","Seljuqs","water"],"materials":["brass"]},"078b6eae-ee80-5e07-bece-2ad30be691e7":{"name":"Ewer and basin","description":"A ewer with a round base and pear-shaped body, ornamented with circular bands, beginning with vegetal motifs in the form of inverted crenellations, followed by a band inscribed with Persian script interspersed with round medallions containing human figures, followed by a wider band decorated with human figures, mythical creatures and birds, alternating with lobed medallions bearing Persian inscriptions and round medallions with human figures. The upper body ends with arched panels filled with depictions of humans, birds and mythical creatures. These bands are interspersed with small frames ornamented with meandering vegetal scrolls sprouting trifoliate leaves. The neck begins with a ridge and widens towards the round mouth, decorated with lobed, pointed-arch motifs enclosing human and animal figures, along with floral rosettes of many petals. The curved handle extends from the lower body to the mouth. The spout is missing.","type":"Ewer","holder":"Sheikh Faisal Bin Qassim Al Thani Museum FBQ Museum","dates":"AH 12th century / AD 18th century","location":"Ash-Shahaniyah, Qatar","dimensions":"Diameter 75cm, Length: 37cm","provenance":"Iran","copy_editor":"Zeina Al Amad","keywords":["bassin","Copper","ewer","water"],"materials":["copper","simple engraving"]},"082c57c4-e7fd-54c5-8c78-6c90d1f7120a":{"name":"Bowl","short_description":"Nearly every part of the vessel's surface is covered with some form of decoration, against a cross-hatched background, all of which is highly regularized and often rigidly symmetrical. Towards the upper part of the bowl is inscribed a Persian poem divided among eight cartouches. The text, which extols the workmanship, seems to have been written in the voice of the artist and alludes to how the decoration was achieved—through drawings.","type":"Metalwork; tinned copper","holder":"Los Angeles County Museum of Art (LACMA)","dates":"Late 15th century","location":"Los Angeles","dimensions":"Diameter: 26.83cm, Height: 14.61cm","method_for_datation":"Its boldly conceived and deftly drawn floral and vegetal designs are among the numerous distinctive features that relate this vessel to a small group of high-quality tinned copper wares including four dated examples all from the second half of the fifteenth century and associated with the Timurid capital, Herat.","method_for_provenance":"Provenance was established through its publication in 1959, in L.A. Mayer, Islamic Metalworkers and their Works, p. 80, where the partial reading of the inscription incorrectly noted a signature. The connection to Rice is repeated in L. T. Giuzal’ian,“Peridskoe stikotvorenie na medom tazzike iz byvshei kollekstii D.S. Raisa” [Persian verses on a copper bowl formerly in the collection of D.S. Rice], Epigrafika Vostoka 21 (1972): 40–41, where the author indicates he had earlier received rubbings of the inscriptions from Rice.","provenance":"Afghanistan","obtention":"This object was in the collection of the British Islamicist D.S. Rice (1913-62) at least from 1959, when it was published in L.A. Mayer, Islamic Metalworkers and their Works, until his death. It came up for sale in Paris in 1996, without reference to Rice. It has been in LACMA’s collection since 1996.  \nPurchased at auction in Paris, March 21, 1996. See: \"Archeologie: Arts d'Orient.\" Francois de Ricqles (Mars 21, 1996): 51.","bibliography":"Komaroff, Linda, \"A thousand designs for the sake of the bowl: a wine vessel with Persian inscriptions at LACMA”, *Artibus Asiae*, 67 : 1 (2007): 25-38.  \nKomaroff, Linda, *The Timurid Phase in Iranian Metal-Work: Formulation and Realization of a Style*, Ph.D. thesis, New York: New York University, 1984.  \nKomaroff, Linda, *Collecting Islamic Art at the Los Angeles County Museum of Art: A Curatorial Perspective*, Los Angeles: Art Catalogues LACMA, 2017.  \nKomaroff, Linda, \"Islamic Art Now and Then\", in Shelia Blair and Jonathan Bloom (eds), *Islamic Art: Past, Present, Future*, New Haven, New York, and London: Yale University Press, 2019: 26-56.","author":"LACMA Staff","materials":["copper","engraved and originally tinned"]},"0843ed15-3038-5462-99a7-357fb11e2255":{"name":"Box","short_description":"This round cast box has a flat lid in the centre of which is a deep circular recess. The dense chased decoration consists of eight-pointed stars, floral cartouches and a frieze of overlapping split-leaves. The four epigraphic cartouches on the rim contain verses by the 14th-century Persian poet Hafiz, extolling the undying flame of love and comparing it to the flame of a candle. Typical of Safavid metalwork is the miniature rendering of the decoration, reminiscent of manuscript illustration.","type":"Box, metalwork","holder":"Benaki Museum","dates":"Hegira 10th-11th century / AD late 16th–first half of the 17th century","location":"Athens","dimensions":"Diameter 18 cm","provenance":"Iran","keywords":["Bow","calligraphy","floral decoration","geometric decoration","inscription","metalwork","poetry","Safawid"],"materials":["Copper alloy","tinned"]},"08735bbc-752f-5c86-962d-667f390393f6":{"name":"Nails","short_description":"These tools represent *baraka* (blessings) or *barkati* nails made of iron and adorned with fine inscriptions. Originating in Oman, talismanic qualities were attributed to the nails to protect property or vehicles.  \n  \nWhen constructing a home, furniture or vehicles such as dhows (boats), these blessed nails are hammered into the wood for additional support and protection. Islamic prayers in *naskh* calligraphy instil hidden blessings for oneself or on behalf of someone else for good fortune.  \n  \nSmall ordinary objects like nails are transformed into talismans to dispel demons (*jinn*), evil and accidents on long journeys. As iron is a precious material in Islam, the nails gain further protective properties.","type":"Domestic tools","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"18th century","location":"Shahaniya","dimensions":"Length: 15cm, Width: 1cm","place_of_production":"Oman, Muscat","method_for_datation":"The date and origin were established in anthropological research-based comparison from an examination of material, engraving and pattern.","method_for_provenance":"The date and origin were established in anthropological research-based comparison from an examination of material, engraving and pattern.","provenance":"Oman","obtention":"Purchase","bibliography":"Al-Saleh, Y., \"Amulets and Talismans from the Islamic World\" in *Heilbrunn Timeline of Art History*, New York: The Metropolitan Museum of Art, 2000.  \nPorter, V., Saif, L. and Savage-Smith, E., \"Medieval Islamic Amulets, Talismans, and Magic\", in F.B. Flood and G. Necipoğlu (eds), *A Companion to Islamic Art and Architecture*, Hoboken: John Wiley & Sons, 2017.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Dhows","India","Oman","Talismans"],"materials":["Engraving","Iron"]},"08dca4b1-a653-52f3-8c7e-62cb2ef8e054":{"name":"Inkstand (*divit*)","short_description":"The edges of the inkwell, as well as the sides and terminals of the pen case are decorated with chiselled vegetal motifs. Engraved motifs cover the base of the inkwell and partially its back. The hinged cover of the inkwell is set with an amethyst. The base of the inkwell and the back of the pen case are both marked with the *tughra* of Sultan Ahmed III (1703 - 1730). Traces of textile (*liqa*) have been found inside the inkwell. On the upper side, the maker’s stamp: *‘amal Muhammad*.","type":"Metalwork","holder":"The National Museum of Art of Romania","dates":"Hegira 1115 – 1143 / AD 1703 – 1730","location":"Bucharest","dimensions":"Length: 34.5cm, Width: 7cm","method_for_datation":"*Tughra* of Sultan Ahmed III","method_for_provenance":"*Tughra*","provenance":"Turkey","obtention":"Partial return (1956) of the Romanian treasure sent to Russia for safekeeping during World War I.","bibliography":"Derman, U., *Sabancı University, Sakıp Sabancı Museum, Selected Works from the Calligraphy Collection*, Istanbul: Sabancı University, Sakıp Sabancı Museum, 2005.  \nDunca, M., *Scrierea în arta islamică*, Bucharest: National Museum of Art of Romania, 2000: 77, cat. no. 51.","author":"Mircea Dunca","keywords":["Inkstand (divit)"],"materials":["amethyst","Cast silver","chiselled","engraved","gilded"]},"0945b287-7bd5-56a6-8465-7ea419eb7485":{"name":"Adornment from small chest.","description":"Small quadrangular adornment from a chest, with a wider base, with plant-form decoration: two flowers with light blue and greyish green enamelled petals, surrounded by white enamel and the remaining spaces filled with light blue. Three incisions are visible on the base containing remnants of gilding. This style of object was used to decorate small chests covered with bone or marble sheets.","short_description":"Square adornment for a small chest with a wide base and plant decoration: two flowers with petals enamelled in light blue and grey-green surrounded by white enamel. The remaining spaces are coloured light blue.","type":"Adorment, copper","holder":"Museum of Mértola.","dates":"Hegira end of 5th century – first half of 6th century / AD end of 11th century – first half of 12th century.","location":"Mértola., Beja.","dimensions":"Height 3.7 cm, width (max.) 2.7cm and (min) 2.1 cm, weight 11.9 g.","method_for_datation":"By comparison with objects of the same type found in the citadel of Mértola and in other locations where archaeological excavations have taken place.","provenance":"Citadel of Mértola.","obtention":"Object found in the citadel area by an inhabitant of Mértola and donated to Mértola Museum in 1991.","bibliography":"*Guia do Museu. Museu de Mértola – Arte Islâmica*, Mértola, 2003, p.36.  \nMacias, S. and Torres, C., *Museu de Mértola. Arte Islâmica*, Mértola, 2001, p.176.","linkcatalogs":"IAM_PT_EN_001","author":"Lígia Rafael","translator":"Gilla Evans","translation_copy_editor":"Monica Allen","keywords":["plant decoration"],"materials":["blue and greyish green. In the widest part (base) there are three incisions containing vestiges of gilding.","Enamelled copper in white"]},"09735692-5b84-55c8-9f6f-7ae132533658":{"name":"Candlestick of al-Nasir Muhammad bin Qalawun.","description":"A candlestick consisting of a cylindrical base and body, as well as a cylindrical neck whose diameter is small when compared to the base and body. Three decorative braid-like bands wrap around the base of the candlestick, one on top of the other. They are separated from the one adjacent to it by strokes, which also wind around the base. The body of the candlestick is completely covered with decoration, including a large inscription in Mamluk *naskhi* script that extends from the lowest section of the body to the top. It reads: “The possession of the sublime, the sovereign, the all-knowing, the just, the victorious.” The background of the inscription is filled in with dense vegetal decoration that is worked throughout the body. Two medallions appear on the body of the candlestick, each of which consists of three circles: the interior one is extremely small and in it is a fan-shaped decorative form. The middle circle contains vegetal decoration within twisted lines, which might be lotus blossom. The outer circle is large and also contains vegetal decoration of flowers and intertwining leaves. Two decorative bands are wrapped around the surface (plate) of the candlestick. There is an encircling inscription on the surface written in Mamluk *naskhi* script that reads: “The Possession of the Sublime, The lord, The sovereign, the warrior, the Mujahid, the knower, the helper, the victorious.” Two medallions intercept the inscription, each of which contains a depiction of a bird most likely a pigeon or a partridge. The two birds face each other. The background of the inscription is filled in with a collection of leaves and flowers. The neck of the candlestick is clearly not original and the replacement certainly indicates the decline in craftsmanship during the late Mamluk period.  \nIt is noteworthy that travellers who visited al-Aqsa Mosque and the Dome of the Rock in Jerusalem, as well as al-Haram al-Ibrahimi, (the Ibrahimi Mosque) in Hebron (al-Khalil), mentioned in their descriptions of these places that they contained a large number of lamps and candlesticks, only a few of which have survived to the present. Some of them are displayed in the Islamic Museum in Jerusalem.","short_description":"A cylindrical candlestick with two epigraphic inscriptions. There are no spaces as thick vegetal decoration has been worked over the entire body. From its decoration, script and titles it appears to be associated with al-Nasir Muhammad bin Qalawun. It is typical of Mamluk candlesticks made in Cairo and Damascus. It was formerly at al-Haram al-Ibrahimi in Hebron.","type":"Candlestick, copper","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Mamluk sultan, al-Nasir Muhammad bin Qalawun (who ruled three times: AH 693–4, 698–708 and 709–41 / AD 1294–5, 1299–1309 and 1309–40).","dates":"Hegira 693–741 / AD 1294–1340.","location":"Jerusalem","dimensions":"Height 43.4 cm, diameter 29 cm, height (of neck) 18.5 cm.","method_for_datation":"The candlestick is dated by the inscriptions on it which mention the titles of the Mamluk sultan, al-Nasir Muhammad bin Qalawun. Further, an accurate date was achieved by study of its style and decoration and through analysis of the calligraphic script used, and also by comparing it to other pieces of the same period.","method_for_provenance":"Cairo was narrowed down as the place of production by studying the method of manufacture and decoration. The Islamic Museum in Cairo holds a number of dated candlesticks similar to this one. It is probable that Sultan al-Nasir Muhammad bin Qalawun donated this candlestick and another one to the Haram al-Ibrahimi in Hebron (al-Khalil).","provenance":"Probably Cairo, Egypt.","obtention":"The piece was transferred some time after 1967 from the Haram al-Ibrahimi in Hebron (al-Khalil) to the Islamic Museum in Jerusalem.","bibliography":"Abu Khalaf, M., *Islamic Art Through the Ages: Masterpieces of the Islamic Museum of al-Haram al-Sharif, Jerusalem,* 1998.  \n\\_\\_\\_\\_\\_\\_\\_\\_\\_\\_, “Three Candlesticks from the Islamic Museum of al-Haram al-Sharif”, *Levant*, No. 20, 1988.","linkcatalogs":"IAM_EG_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Candlestick","Copper","engraving","epigraphic decoration","Mamluk","naskhi","naskhi script","vegetal decoration"],"materials":["Copper with decorative carving inlaid with silver."]},"09c974f1-3499-5895-8d83-7f1c12a97916":{"name":"Candlestick base.","description":"The base of a Mamluk candlestick made of beaten sheet copper that has been gilded with brass and inlaid with silver and gold. The drip-tray that would have sat on the top rim of the base is missing. The body is decorated with a wide band of *naskhi* script divided into two sections by two roundels. The main decorative fields are embellished with fine floral scrolls inlaid with silver. The inscription, which is inlayed with silver, describes the attributes of the patron who commissioned the candlestick but does not mention his name! Many such candlesticks would have been presented for use in mosques, shrines, and religious schools in Egypt. The Mamluk rulers of Egypt and Syria became great patrons of art and architecture. Cairo was their capital, which they ruled from AH 647 / AD 1250 to AH 922 / AD 1517.","short_description":"Many metal candlesticks like this one were commissioned during the Mamluk period to be presented for use in mosques, shrines and religious schools. The Arabic calligraphic script describes the titles and allegiances of the Mamluk patron who commissioned the candlestick.","type":"Metalwork, copper","holder":"Burrell Collection, Glasgow Museums.","dates":"Hegira, late 7th–early 8th century / AD late 13th–early 14th century.","location":"Glasgow, Scotland","dimensions":"Height 10.1 cm, diameter (of base) 19.6 cm.","method_for_datation":"Stylistic analysis: the titles written on the base are typical Mamluk titles of the late 7th to early 8th / late 13th century to early 14th centuries.","method_for_provenance":"The titles written on the base are typical Mamluk titles of the late 7th–early 8th / late 13th–early 14th centuries.","provenance":"Egypt.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Brend, B., *Islamic Art* , London, 1991.  \n  \nJones, D., and Michell, G., (ed.), *The Arts of Islam*, exhibition catalogue, London, 1976.  \n  \nWard, R., *Islamic Metalwork*, London, 1993.","linkcatalogs":"IAM_EG_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["calligraphy","patronage","waqf"],"materials":["beaten and inlaid with gold and silver.","Sheet copper"]},"0a0edfc8-af4f-5ae8-9755-2f42463320c3":{"name":"Incantation bowl","description":"A copper dish with a small, inverted dish at the canter, known as an incantation bowl. The entire surface, inside and out, is ornamented with religious inscriptions and talismanic numbers.  \n  \nThe exterior rim is inscribed with Qur’anic verses: “In the name of Allah, the Gracious, the Merciful”; “Allah is the Light of the heavens and the earth. The parable of His Light is as a niche and within it a lamp”; “Allah the Sufficient, Allah the Healer”; “In the name of Allah, the Gracious, the Merciful”; “In the Name of Allah, Who with His Name nothing can cause harm in the earth nor in the heavens, But Allah is the Best to guard and He is”; “In the name of Allah...the healer…”. The inner rim is ornamented with a band enclosed between two frames, each inscribed with repeated numbers (81 / 12).  \n  \nThe band is inscribed with Qur’anic verse in Thuluth script: “Allah, the Ever-Living, the Self-Subsisting by Whom all subsist, there is no god but Him. Neither slumber seizes Him, nor sleep; to Him belongs all that is in the heavens and all that is in the earth. Who is there who might intercede with Him save with His leave? He knows what lies before them and what is hidden from them, whereas they cannot attain to anything of His knowledge save what He wills them to attain. His Dominion overspreads the heavens and the earth, and their upholding wearies Him not. He is All-High, All-Glorious”.  \n  \nThe inner base is surrounded by fifteen lobed medallions arranged in horizontal registers containing invocations reading: ”Allah the Sufficient / Allah the Healer / In the name of Allah,” repeated. At the very centre is a small, inverted dish. Its decoration begins with a band inscribed in Thuluth script repeating ”O Allah, grant us well-being”. Above it runs a row of pointed arches containing horizontally written numbers (II/II). The central surface of the dish is adorned with a star-shape formed of interlaced script reading ”O the most Compassionate, O the most Generous”.  \n  \nThe exterior body is decorated with ornamental bands consisting of inscriptions and motifs. The outer rim begins with a band of Qur’anic verse: “Allah, the Ever-Living, the Self-Subsisting by Whom all subsist, there is no god but Him. Neither slumber seizes Him, nor sleep; to Him belongs all that is in the heavens and all that is in the earth. Who is there who might intercede with Him save with His leave? He knows what lies before them and what is hidden from them, whereas they cannot attain to anything of His knowledge save what He wills them to attain. His Dominion overspreads the heavens and the earth, and their upholding wearies Him not. He is All-High, All-Glorious”. This is followed by a frame of repeated numbers (II/II).  \nAround the outer rim of the bowl are fifteen lobed medallions arranged in horizontal registers, each inscribed with repeated invocations: ”Allah the Protector / Allah the Healer / In the name of Allah / Allah the Comforter”.  \nNext comes a frame whose decoration is effaced, but traces of the number (81/12) remain visible.  \nThe recessed base begins with a band in thuluth script containing invocations: ”O Allah, grant us health / O Allah, be pleased with us”. This is followed by a row of pointed arches inscribed with numbers (81/12 and II/II). At the very center, a hexagram encloses the numbers (81/12).","type":"Bowl","holder":"Sheikh Faisal Bin Qassim Al Thani Museum FBQ Museum","dates":"AH 12th–13th century / AD 18th–19th century","location":"Ash-Shahaniyah, Qatar","dimensions":"Diameter: 21.5cm, Height: 5cm.","provenance":"Iraq","copy_editor":"Zeina Al Amad","keywords":["bowl","Copper","incantation","Religion","water"],"materials":["and engraving","copper","hammering","Incising"]},"0ae5bb98-ff82-5c47-b575-e5dded2d383a":{"name":"Doorknocker.","description":"This doorknocker consists of two fantastical winged dragons opposing one another; their front legs are connected and their heads turned backwards. Their jaws are wide open, and they look as if they are about to swallow their own wings. The ends of their tails are entwined together and end in griffin heads. The dragons are connected with a single lion’s head with a long pin, which allows the knocker to be attached to a door. The surfaces of the dragons’ sculpted bodies are engraved. There is no known counterpart to this doorknocker; however, a very similar doorknocker used to exist in the Ulu Cami (Great Mosque) in Cizre in southeast Anatolia and is housed today in Istanbul in the Museum of Turkish and Islamic Art.  \nWooden doors that were nearly five metres in height, adorned with expensive bronze fittings, were considered objects of interest from the start. They were also chronicled with admiration in medieval sources, such as the book by the engineer Isma'il b. ar-Razzaq al-Jazari who wrote, during this period, about the great doors of the Artuqid Palace in Diyarbakır.  \nRepresentations of winged dragons, facing each other with wide-open jaws, were thought of at the time as charms or amulets to ward off evil. The forms used in this doorknocker illustrate Zangid ideas about magic and a supernatural symbolism of the world. Such ideas appear also in other places and genres. Examples include the Talisman Gate of AH 617–18 / AD 1221–2 in Baghdad; the reliefs on the citadel of Konya (Turkey) of the same year (which is today in the Ince Minareli Madrasa Museum, Konya); or the title pages of manuscripts from around 1200, such as the book on antidotes written in AH 595 / AD 1199, now in the National Library in Paris, which symbolically features the moon on its front cover. Secondary literature has emphasised that such motifs on doors were supposed to prevent undesirable visitors from crossing the threshold.","short_description":"This doorknocker shows two fierce dragons that seem to swallow their own wings and whose entwined tails end in griffin heads. The dragons are joined together by a lion’s head, which has a long pin to fix the knocker to a door. Dragons such as these were thought to protect a building from evil.","type":"Doorknocker, metalwork","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"Hegira beginning of 7th century / AD beginning of 13th century","location":"Berlin","dimensions":"Height 27.5 cm, width 24 cm.","method_for_datation":"The existence of similar doorknockers from the Ulu Cami (Great Mosque) in Cizre, and other similar examples, suggests that this object dates from the beginning of the 7th / 13th century.","method_for_provenance":"As this doorknocker, acquired in Tbilisi, Georgia, displays very close parallels to doorknockers from the Ulu Cami (Great Mosque) in the southeast Anatolian town of Cizre, and also by comparisons in the recent literature, it is believed to have originated from southern Anatolia.","provenance":"Southeast Anatolia (Turkey).","obtention":"From an art dealer in Tbilisi, Georgia. Obtained in 1912 as a gift from A. Francke.","bibliography":"Hattstein, M. and Delius, P., *Islam: Art and Architecture*, Cologne, 2000, pp.384–5.  \nHillenbrand, R., *Islamic Art and Architecture*, London, 1999, pp.111–37.  \n*Museum für Islamische Kunst Berlin*, Catalogue, Berlin, 1979, cat no. 14, p.17.  \n*Museum für Islamische Kunst*, Catalogue, Mainz, 2001, p.66.  \nRoxburgh, D. J. (ed.),*Turks: a Journey of a Thousand Years, 600–1600*, Exhibition catalogue, London, 2005, pp.130–1, cat. no. 87.","author":"Annette Hagedorn","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["bronze","doorknocker","dragon","imaginary animal","symbolism","zangids","zoomorphic imagery"],"materials":["Bronze","cast","engraved."]},"0be609b8-eaa5-59f2-a721-5797ecc66645":{"name":"Silver-inlaid brass Qur’an stand","short_description":"This stand is an example of Mamluk revivalist work, made during an age that encouraged the nationalistic reappraisal of indigenous heritage. It copies a famous Mamluk Qur’an stand in the Museum of Arab Art in Cairo, inscribed with the name of the Mamluk Sultan al-Nasir Muhammad ibn Qalawun (r. AD 1294-1340) and made by Muhammad ibn Sunqur al-Baghdadi.","type":"Metalwork","holder":"Sharjah Museum of Islamic Civilisation","dates":"Hegira late 13th century / AD late 19th century","location":"Sharjah","provenance":"Egypt, Cairo","keywords":["furnishing","inlay","Mamluk Revival","metalwork","Neo Mamluk","Qur'an stand","revivalism","silver"]},"0bf9f93d-7e41-57a5-a618-9f644fa93aa1":{"name":"Dervish Bowl *Keşkül-ü Fukara*","description":"The coconut shell vessel is intricately engraved with Persian couplets using the carving technique.  \n  \nOn the silver border, the inscription reads:  \n  \n\"They are offered a pure drink whose end is musk \\[a pleasant fragrance\\]. Let those who strive, strive for this — a spring from which those near to Allah drink.”  \n  \nThis is followed by the date AH 1234 / AD 1818 and the phrase \"Amal-i Kazım\" (\"Work of Kazım\").","type":"Bowl","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 13th century / AD 19th century","location":"Istanbul","dimensions":"Height: 10cm, diameter: 25cm","place_of_production":"Shell made in Persia; silver lining made in Istanbul","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["bowl","Coconut","Dervish","Ottomans","silver","water"],"materials":["Sea coconut shell","Silver"]},"0c6f934e-a89f-5201-8884-4f5cd43e4cba":{"name":"Turkish weights","description":"After Wallachia and Moldavia entered under Ottoman sovereignty and the Ottoman Empire became their main commercial partner, a series of Ottoman measures of mass and weight were adopted, such as the “oka” (1.282 kg) or the “kantar” (56.449 kg). When in 1864 the Romanian Ministry of Agriculture decreed the introduction in the United Principalities of the metric system, all the measures used in the past were abolished.","type":"Weights","holder":"National Museum of Romanian History","dates":"19th century","location":"Bucharest"},"0c8d4c10-e0c7-58fa-9a01-827cb349e0f8":{"name":"Perfume flask","description":"This type of bottle with a long and narrow neck, also called *qumqum*, was used to disperse perfumed waters – orange blossom, rose water – on the hands and faces of guests: a gesture of hospitality also intended to expel evil forces from the house.  \nOn the surface of the pear-shaped body, cypress and bouquets of leaves alternate, and flowers emerge from a vase flanked by two seals of Solomon.","type":"Metalwork","holder":"Museum of the Arab World Institute","dates":"End of 12th century-1st half of 13th century / AD end of 18th- beginning of 19th century","location":"Paris","dimensions":"Height: 35.5cm, Diameter: 10cm, Base diameter: 9cm","provenance":"Morocco","obtention":"Purchased at 'Art Musulman gallery', 1992.","bibliography":"Delpont, E., et al., *Album du musée*, Paris: Somogy éditions d'art, 2012: 387.","translator":"Judy Harter","materials":["Cast steel","gold and silver decoration"]},"0e7a0149-6b93-507e-b4df-dc55cdc5bd9f":{"name":"Iron coffee roasting spoon","alternate_name":"Eid – Mehmasah","description":"Iron coffee roasting spoon used to turn coffee beans while roasting them. Coffee-drinking in a communal setting is an essential part of traditions in Bedouin communities to celebrate or mourn.","type":"Kitchen utilities; metalwork","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"0e898325-2ca7-55a3-9b21-31bfc911229e":{"name":"Lunchbox","description":"Tin-plated copper casket for transporting food on journeys and campaigns. The whole surface is decorated with intricated designs, inscriptions and medallion with geometric motifs.","type":"Casket","holder":"Benaki Museum","dates":"AH 905-956/early 16th century","location":"Athens","dimensions":"Height: 21,3 cm, length: 34 cm, width: 20 cm","method_for_datation":"Stylistic analysis","provenance":"Egypt","obtention":"Antonis Benaki collection","bibliography":"Ballian, A. (ed.), *Benaki Museum: a Guide to the Museum of Islamic Art*, Athens: Benaki, 2006: fig. 184, p. 143.","author":"Mina Moraitou","copy_editor":"Judy Harter","materials":["Tinned copper"]},"0e9e0841-ee1f-5aa8-8944-2225bf18b5d7":{"name":"Coffee pot","alternate_name":"Dallah","description":"This copper dallah goes back to a type allegedly first used in 17th-century Baghdad, By the 19th century, we know of several production centres in the Arabian peninsula. Its design reflects its functional needs. The broad base ensures stability on the fire or on the sand, the large beak prevents too much coffee sediment to reach the cup. The lid is weighted to avoid it opening during the pouring process.The quality and quantity of the coffee served indicated the wealth of the host and status of the guest. Throughout the Near and Middle East coffee lay at the heart of social ritual and hospitality, while providing sustenance during chats, debate and political discourse in the many coffeehouses in the region. In continental Europe, the fashion for coffee was at its height in the 17th and 18th centuries, with coffeehouses the preferred meeting places for intellectuals and artists. In Britain, meanwhile, tea soon overtook coffee in popularity, even though certain religious organisations tried to promote coffee houses for the poor in order to steer them away from pubs and bars.","type":"Metalwork","holder":"Sharjah Heritage Museum / Sharjah Museums Department","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah","provenance":"Arabian Peninsula","author":"Ulrike Al-Khamis"},"0ec7070c-4723-5d21-8d20-fb151e3e884f":{"name":"Coffee pots (*dallah*)","description":"With its slender waist, graceful handle and elegant spout, this coffee pot (or *dallah*) is an exquisite example of Nazwa silversmithing. The silver souq in Nazwa is famed for its superb wares; smiths tend to work alongside jewellers and khanjar-makers to produce particularly fine goods. This *dallah* features a combination of arabesque and geometric designs, while the inscription at the bottom reads, in Arabic, \"K. R. 21/6/1974\" – a reference to its maker, Khalfan bin Rashid al-Sabahi, and its date of completion.","type":"Copper, silver and brass (some with tin wash)","holder":"The National Museum – Sultanate of Oman","dates":"Hegira 13th–14th/AD 19th–20th centuries","location":"Muscat, Sultanate of Oman","dimensions":"Height: 29cm, width: 22cm, depth: 15cm, Q: 8cm","provenance":"Northern Oman","author":"Noora Al Balushi","copy_editor":"Alvaro Miranda","materials":["copper","silver and brass (some with tin wash)"]},"0f137923-bf0e-59e9-aa6b-2af58599a73c":{"name":"Flint lock pistol","short_description":"Following the fall of Seringapatam in 1799 AD, this gun was handed over to Lord Cornwallis (1738–1805 AD), a Governor General and Commander-in-Chief of British army during the third Anglo-Mysorean war (1789–1792 AD) as a trophy. The gun is rich with tiger motifs with complete form of tiger figure on the butt and stylised *bubri* on the barrel as well as inscriptions on different parts of the gun. Images of tigers mauling European soldier on the side plate of the gun represents Tipu’s propaganda in degrading the British East India Company. The gun possessed advanced technology of its time where shooter could fire twice continuously with only a single load.","type":"Arms and Armour","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1193-94 / c. AD 1793-94","location":"Kuala Lumpur","dimensions":"138cm","method_for_provenance":"\\- Presented to Lord Cornwallis after the Fall of Seringapatam, 1799;  \n  \n\\- By descent to the Earls of Pembroke, Wilton House;  \n  \n\\- Robin Wigington collection, the Arms and Armour Museum, Stratford-upon-Avon;  \n  \n\\- Private collection, acquired at Sotheby's, The Tipu Sultan Sale, 25th May 2005, lot 54.","provenance":"India","bibliography":"Buddle, Anne, Rohatgi, Pauline and Brown, Iain Gordon, *The Tiger and the Thistle: Tipu Sultan and the Scots in India 1760–1800*, Edinburgh: National Gallery of Scotland, 1999: 22-25.  \nBuddle, Anne, *Tigers around the Throne: The Court of Tipu Sultan (1750-99)*, London: Zamana Gallery, 1990: 42-43.  \nSkelton, Robert, *The Indian Heritage: Court Life and Arts under Mughal Rule*, London: Victoria & Albert Museum, 1982: 139, 464.  \nWigington, Robin, *The Firearms of Tipu Sultan 1783-1799*, Hatfield, 1992: 67-73. Stronge, Susan, *Tipu's Tigers*, London, 2009: 39.","materials":["Carved hardwood with stained black and inlaid with silver and brass"]},"0f3d31c6-e6a7-5e36-82a8-1167cc768c1f":{"name":"Lamp with a spout","description":"The belly of the oil reservoir is disc-shaped and sits on a high, wide, hollow, decahedral base. The neck is damaged.  \nA long spout that is shaped like a ship's keel and reinforced at the join, projects from the belly. Its lower part has a rounded channel with horizontal grooves that lead back into the container. The anchor–shaped handle suggests some kind of animal. The workmanship is far from perfect, as shown by the neck, (set off-centre and non-perpendicular), and by the crudely shaped handle set off-axis with the spout.  \nThe Islamic Middle Age has left us several bronze lamps comparable in many respects to the Ifriqiyan lamp. The numerous enamelled or non-enamelled terracotta lamps which abound from al-Andalus to Egypt also have the same form as this one. They date from the AH 2nd–3rd / AD 8th–9th century and differ greatly from Byzantine lamps, showing that Muslim lamps took on their own character over the centuries. However, the form and proportions of this lamp do resemble several lamps found in Spain and Portugal.  \nWe can include in the same category the lamp kept at the Archaeological Museum at Granada (discoid belly), the lamp from the Archaeological Museum at Jaen (spout and decahedral base), and the lamp from the Marquet de Vasselot Collection (truncated cone neck; see Marcais and Poinssot). It does seem possible that there was a Western Muslim School making bronze lamps with its own techniques and to its own designs.  \nNevertheless, the different parts of the Ifriqiyan lamp are noted for their simplicity and harmony, which gives them a distinct character, and there was in fact a metalworking tradition at Kairouan.","short_description":"Reminiscent of Byzantine lamps, its shape and proportions are quite distinctive. Resting on a decahedral base, the lamp has a disk-shaped belly with a truncated cone-shaped neck. It is similar to lamps found in Spain and Portugal.","type":"Lamp, metalwork","holder":"Museum of Islamic Art.","dates":"Hegira 4th–early 5th centuries / AD 10th–11th centuries.","location":"Raqqada., Kairouan.","dimensions":"Diameter 9.9 cm, length 15.1 cm.","method_for_datation":"Similar lamps from Spain and Portugal definitely date from the 4th–5th / 10th–11th centuries. However, the Hilalian invasions in the middle of the 5th /11th century brought about the collapse of the Tunisian economy and the decadence of its craftsmanship, which implies that this date is a *terminus post quem*.","method_for_provenance":"This cast-bronze lamp was discovered by chance, on an unknown date, probably during the 1940s, at Chebba, a small town on the eastern coastline of Tunisia near Mahdiyya, the ancient Fatimid capital. Evidence suggests it is of Ifriqiyan fabrication.","provenance":"Ifriqiya.","obtention":"After its discovery the lamp first went on display at the Bardo Museum and was then transferred in 1995 to the Museum of Islamic Art at Raqqada.","bibliography":"Marçais, G. and Poinssot, L., *Objets Kairouanais*, XI, fasc. 2, Tunis, 1952, pp.459–61.  \n*Les Andalousies, de Damas a Cordoue* (exhibition catalogue), Paris, 2000, p.195.  \n*De Carthage a Kairouan* (exhibition catalogue), Paris, 1982, p.220.","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["geometric decoration","lighting"],"materials":["Cast-bronze."]},"0fbf5343-64ee-545a-b2c8-56f70b18ca50":{"name":"Samovar","alternate_name":"Russian kettle","description":"Samovars are very common in Russia, Eastern Europe and in the Middle East. The samovar is a highly decorated metal container with a tap at the bottom and a pipe that runs vertically through it. By filling the pipe with coals, it will heat the water inside the container. A teapot kept on the top of the pipe will brew a strong concentration of tea that will be served after adding boiled water to it from the container. Samovars were brought to Jordan by various north Caucasian peoples, referred to as Circassians, who immigrated to the region during the last quarter of the 19th century.","type":"Beverage utilities; metalwork","holder":"Jordan Folklore Museum, Department of Antiquities","dates":"1899","location":"Amman","provenance":"Russia, Tula","copy_editor":"Daniel de la Vega"},"1027aa27-0c29-5f12-8165-2db5e0dda881":{"name":"Circular chandelier.","description":"This chandelier belongs to a series of eight found in the Great Mosque of Kairouan, and which are dispersed today among four Tunisian museums (Raqqada, the Bardo, Mahdiyya and Monastir).  \nThe punched cast-bronze base is in the form of a tray designed to carry 10 candles, with a flared bronze corona from which 18 evenly spaced upright arms project. These are similar in size and are all decorated with double, spread fleurons. The stylised vine-leaf motif is commonly used in Ifriqiyan art of the 3rd and 4th centuries (9th and 10th), particularly in the *mihrab*, the *minbar* and the *maqsura* of the Great Mosque of Kairouan. Nine of the 18 arms end in circular rings and the other nine have heart–shaped tops. The two types are placed in alternating sequence on the corona. The heart motif is frequently found in Kairouanese bookbinding and features in stylised form on several Fatimid sculptures. The central ring of the chandelier is surrounded by 18 horseshoe arches linking the uprights, giving the overall effect of a festooned rose. The base-tray is suspended by three chains linked to three rings.  \nThe Kairouanese type of chandelier has doubtless been influenced by similar Byzantine designs produced throughout the Islamic period in the Mediterranean region. Muslim craftsmen replaced the Christian cross of the Byzantine and Coptic chandeliers with the tri-lobed fleuron and the geometric motifs dear to their own creed. Prototypes similar to that of Kairouan have been found in Egypt, Syria and especially in Spain. This Spanish ancestry arouses speculation that Western Islam may have had its own school of bronze-smiths.  \nInterestingly, this technique appears to have been taken up by Spanish Christians, since there is a similar chandelier from a Spanish church at the British Museum in London.","short_description":"Inspired by Byzantine art, this piece was one of a group of eight used in the Great Mosque of Kairouan. The Muslim artist has replaced the cross in Byzantine and Coptic chandeliers with a trilobed fleuron and some geometric motifs consistent with the Islamic creed.","type":"Chandelier, metalwork","holder":"Museum of Islamic Art.","dates":"Hegira, 4th–early 5th century / AD 10th–11th century.","location":"Raqqada., Kairouan.","dimensions":"Diameter 31 cm, thickness 1 cm.","method_for_datation":"The seven other chandeliers with which this one was kept probably date from before the Hilalian invasions of 449 / 1057. There are stylistic similarities to chandeliers from Egypt, Syria and Spain dating from the 4th / 10th century.","method_for_provenance":"This chandelier was part of the furniture of the Great Mosque of Kairouan. Along with seven other pieces, it was kept as a relic in the old library of the Great Mosque. They all date from before the Hilalian invasions in 449 / 1057. Furthermore, it can be compared to other pieces from Egypt, Syria and particularly from Elvira in Spain. Archaeological digs at the ruins of the Great Mosque in this town have revealed a chandelier dating from the 4th / 10th century whose overall design and internal rosette of horseshoe arches bear a striking resemblance to the Kairouanese chandelier. This convincing evidence unmistakably dates the Kairouanese chandelier from the same period.","provenance":"Kairouan.","obtention":"This chandelier was displayed from 1956 at the museum of the Great Mosque of Kairouan before its acquisition by the Museum of Islamic Art at Raqqada in 1986.","bibliography":"*De Carthage a Kairouan* (exhibition catalogue), Paris, 1982, p.219.  \nMarcais, G. and Poinssot, L., *Objets Kairouanais*, XI, fasc. 2, Tunis, 1952, pp.450–51, fig. 10.  \n*Omeyas* (exhibition catalogue), Granada, 2001, p.54.  \n*The Arts of Islam* (exhibition catalogue), London, 1976, p.169, plate no. 177  \n*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.159–62.","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["floral decoration","furnishing","geometric decoration"],"materials":["Cast bronze."]},"111e154a-a0d5-5bcb-8561-a91ba170d5b3":{"name":"Spherical incense burner","short_description":"Incense burners shaped like hollow metal spheres were popular throughout the mediaeval Islamic world. The movable spheres contain a contraption to keep the small containers for both charcoal and aromatic in a horizontal position. These spheres were used not only to burn incense but also ambergris and sandalwood. The medallion of this incense burner features an emblem denoting the rank of a scribe at the court of a Mamluk sultan. The elaborate ornamental decoration includes an integrated inscription.","type":"Vessels","holder":"Kunsthistorisches Museum","dates":"Hegira 8th century or second half of the 9th century / AD 14th century or 2nd half of the 15th century","location":"Vienna","dimensions":"Height: 15.2cm","method_for_datation":"Arthistorical and historical analysis, archival and inventory research","method_for_provenance":"Listed in the AD 1659 inventory of Leopold Wilhelm","provenance":"Egypt?","obtention":"From the Kunstkammer of Archduke Leopold Wilhelm","bibliography":"Leitner-Böchzelt, Susanne and Pfaffenbichler, Matthias (eds), *Die Welt des Orients. Kunst und Kultur des Islam*, Leoben: Stadtgemeinde Leoben, 2006.","copy_editor":"Liz Cooper","keywords":["calligraphy","court life","epigraphic decoration","furnishing","inscription","metalwork"],"materials":["Bronze"]},"122ed70a-7520-546e-8a64-a6c09c9fef31":{"name":"C.E. Heinke & Co. ‘Pearler’ Diving Helmet","alternate_name":"Pearl diver's helmet","description":"Pearl diving was an extremely dangerous and physically demanding occupation, which often discouraged white Australians from undertaking such work. To meet the labour demands of the industry, many Malay workers were brought to Australia in the early 1900s. By 1900, Malays made up 38% of the pearl divers in Western Australia.  \n  \nThe introduction of C.E. Heinke & Co. diving helmets played a crucial role in improving diver safety, enabling them to work at greater depths and reducing the risk of fatal accidents.  \n  \nThis particular helmet was recovered from a pearling lugger that sank in Princess Charlotte Bay during the catastrophic 1899 Mahina cyclone. The cyclone claimed over three hundred lives and destroyed numerous vessels engaged in the pearling industry.  \n  \nIn addition to the damage caused by the cyclone, the helmet shows evidence of multiple repairs carried out over its working life, reflecting its extensive use.  \n  \nCourtesy of Queensland Museum.","type":"Maritime equipment-diving helmet","holder":"Queensland Museum, loaded to and on display at the Islamic Museum of Australia","owner":"Queensland Museum","initial_owner":"Queensland Museum","dates":"Circa 1890s","location":"Queensland","dimensions":"Height: 46cm, depth: 34cm, width: 41cm","place_of_production":"London","method_for_datation":"Signature and marks on the helmet; research","provenance":"Acquired by Queensland Museum; currently on loan to the IMA.","obtention":"Loaned to the IMA by Queensland Museum.","workshop":"C.E. Heinke & Co.","catalogue_holding_link":"https://collections.qm.qld.gov.au/objects/MAR6101/diving-helmet","copy_editor":"Alvaro Miranda","materials":["Copper alloy metal","glass"]},"12bc77cd-3251-54d2-a1a9-9f5a47163fc7":{"name":"*Dallah* (Coffee pot), *Khamra*; preparing stage largest pot","description":"This copper *dallah* goes back to a type allegedly first used in 17th-century Baghdad, and by the 19th century, there were several production centres in the Arabian peninsula. Its design cleverly reflects its functional needs. The broad base ensures stability on the fire or in the sand, whilst the large spout prevents too much coffee sediment from reaching the cup. The lid is purposely weighted to avoid it opening during the pouring process. Throughout the Near and Middle East coffee lay at the heart of social rituals and hospitality, while providing sustenance during chats, debate and political discourse in the many coffee houses in the region. In this light, the quality of the coffee served was an important indicator of both the wealth of the host and status of the guest. In continental Europe, the fashion for coffee was at its height in the 17th and 18th centuries, with coffee houses the preferred meeting places for intellectuals and artists. In Britain, meanwhile, tea soon overtook coffee in popularity, even though certain religious organisations tried to promote coffee houses for the poor in order to steer them away from public houses that primarily sold alcohol.","type":"Coffee pot; *Khamra*","holder":"Sharjah Heritage Museum","owner":"Sharjah Museums Authority","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah, United Arab Emirates","dimensions":"Length: 414mm, width: 375mm, base diameter: 161mm, opening diameter: 110mm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Arabian Peninsula","obtention":"Purchased","author":"Ulrike Al-Khamis","copy_editor":"Judy Harter","keywords":["coffee pot","dallah"],"materials":["Sheet and cast copper alloy"]},"12f5d5fd-1263-5c49-9096-319d47fa4f1b":{"name":"Hemispherical cup on trumpet foot","description":"The hemispherical cup resting on a trumpet-shaped foot belongs to a typology that developed in Iran between the late 12th and early 13th centuries, also spreading to the Syro-Mesopotamian area.  \nThe outer wall is engraved with apical medallions decorated with arabesques and rosettes with geometric motifs and stylized flowers.  \nThe upper rim of the cup features an inscription characterized by rods ending in human heads, while the lower part of the letters features recognizable animal heads, including birds, which are also found in the interstices on the swirled base.  \nThe animated inscriptions are typical of Khorasan metalwork and are reflected in the ornithomorphic inscriptions on ceramics from the Samanid period.  \nThe auspicious inscription on the rim reads: \"Everlasting glory, healthy life, complete prosperity, full success, increasing fortune, favorable destiny, eternal delight, happiness, health, favor, generosity, peace, intercession... long life to the owner.\" The inscription on the body reads \"for Khalīf son of al-Jūlakī (?).  \nThe cup was probably used to hold beverages and drinking water, which was traditionally stored in large clay jars that preserved its freshness and were covered with cloth, palm branches, or other leaves.","type":"Cup","holder":"Museo e Real Bosco di Capodimonte","initial_owner":"Collezione Borgia (until 1817)","dates":"AH 5th -6th century / AD 12th - 13th century","location":"Naples","dimensions":"Height: 13,3cm, diameter: 17,4cm","place_of_production":"Khorasan, Iran","obtention":"Sold to the museum in 1817.","bibliography":"Scerrato, U., *Arte islamica a Napoli: Opere delle raccolte pubbliche napoletane* , Naples: Istituto Universitario Orientale, 1967.  \n  \nVanoli, A., *Acqua, Islam e arte. Goccia a goccia dal cielo cade la vita*, Milan: Silvana Editoriale, 2019.","keywords":["collezione borgia","cup","Museo e Real Bosco di Capodimonte"],"materials":["Bronze","engraved and inlaid in silver"]},"12fc5988-26a3-5343-9957-f679fd5cee4e":{"name":"Hijaz Railway gold medal","description":"Medals offered to those who had provided a personal charitable donation to the Railway endeavour displayed a locomotive (with the common 2-6-0 wheel configuration) within a laurel wreath. Above the locomotive was the tughra of Sultan Abdülhamid II and beneath it the Hijri date. On the reverse side, an inscription described the award as ‘The Hamidiyah Hijaz Railway for Enthusiastic Service’. The medals were made of different metals which were composed in accordance to the amount of the donation. They were generally presented with a red or green ribbon and accompanied by an official firman. The gold medal was given to the highest donors and was therefore rarer than the other types (silver or cupro-nickel). Firmans without medals could also be awarded for smaller contributions, which gave even the poorest of donors formal recognition of their piety. The religious aspect of the venture was reinforced by the almost complete lack of financial corruption in its financial administration. At a time when the abuse of official position was commonplace throughout the empire, it was a remarkable and indeed unifying feature of the project that the running of its affairs was carried out with virtually no reports of misappropriation.","type":"Medal","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","owner":"Unknown","dates":"AH 1318 / AD 1900–01","location":"London","dimensions":"Diameter: 3.5cm","place_of_production":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","obtention":"The medal is dated.","bibliography":"Khan, Q.M., *Hajj and the Arts of Pilgrimage*, London: Assouline, 2022.  \n  \nNicholson, J., *The Hijaz Railway and Route Guide, Hajj and the Arts of Pilgrimage, Essays in Honour of Nasser David Khalili*, Edited by Q. Khan with N. Nassar. London: Gingko, 2023: pp.239–282.  \n  \nNicholson, J., *The Hejaz Railway*, London: Stacey Publishing Ltd, 2005.  \n  \nOchsenwald, W. L., *The Hijaz Railroad*, Charlottesville: University of Virginia Press, VA, 1980.  \n  \nÖzyüksel, M., *The Hejaz Railway and the Ottoman Empire: Modernity,  \nIndustrialisation and Ottoman Decline*, London: I.B.Tauris, 2014.","workshop":"Hamidiyah Hijaz Railway","author":"Qaisra Khan","keywords":["al-Sh","AlUla","Amman","Arabia","barrack","Bosra","Branch line","bridge","chemin-de-fer","Damascus","defensive post","Deraa","fortification","Haifa","hajj","Hajji","Hedjaz","Hegra","Hejaz","Hijaz","Hijaz Railway","Jordan","Ma’an","Medina","Ottoman railway","Ottomans","Palestine","photography","pilgrimage","pilgrims","postcard","qala’a","Railway","railway station","Saudi Arabia","stamps","station","Syria","Tabuk","tunnel"],"materials":["Gold"]},"13234dce-e760-5f68-9ead-fa6944333432":{"name":"Magic Bowl","short_description":"Protective verses from the Qur’an, blessings and magic letters encase this bronze bowl. This vessel belongs to a group of objects known as magic bowls in Islamic metalworks, intended to ward off fear, evil and demons (*jinn*).  \n  \nWhile this bowl originates from Karbala in Iraq, the place of pilgrimage for Shiite Muslims, these objects have appeared in Syria, India and Iran since the 12th century. Earlier Sasanian magic bowls with Aramaic inscriptions embodied similar amuletic qualities, however were made of clay instead of metal and invoked the powers of demons and Liliths.  \n  \nThe Throne Verse (*Ayat al Kursi*) of the Qur’an guards the exterior of the bowl in the *thuluth* style of Arabic calligraphy, granting talismanic protection. A hexagram (six-pointed star) invokes prophet Sulayman (Solomon), while the surrounding inscriptions bear blessings for one's body and the senses. Twelve panels on the vessel allude to the twelve Imams in Shia Islam. The science letters (*ilm al huruf*) ascribes magical properties to the assortment of letters marking the panels.","type":"Domestic tools","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 22.5cm, Width: 20cm","place_of_production":"Iraq, Karbala","method_for_datation":"The date and origin were established in anthropological research-based comparison from an examination of material, calligraphy, engraving and oral tradition.","method_for_provenance":"The date and origin were established in anthropological research-based comparison from an examination of material, calligraphy, engraving and oral tradition.","provenance":"Iraq","obtention":"Purchase","bibliography":"Al-Jubeh, B., \"Magic and Talismans/The Tawfiq Canaan Collection of Palestinian Amulets\", *Jerusalem Quarterly*, 2005: 22–23.  \nAl-Saleh, Y., “Amulets and Talismans from the Islamic World”, in *Heilbrunn Timeline of Art History,* New York: The Metropolitan Museum of Art, 2000.  \nKiyanrad, S., \"Sasanian Amulet Practices and their Survival in Islamic Iran and Beyond\", *Der Islam*, 95 : 1 (2018): 65–90.  \nPorter, V., Saif, L., and Savage-Smith, E., \"Medieval Islamic Amulets, Talismans and Magic\", *A Companion to Islamic Art and Architecture*, 1 (2017): 521–557.  \nWelch A., \"Islamic calligraphy: Meaning and symbol\", in: Kolers P.A., Wrolstad M.E., Bouma H. (eds) *Processing of Visible Language. Nato Conference Series, vol 13*, Boston: Springer, 1980.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Iraq","Karbala","Magic bowl","Shia Islam","Sulayman's hexagram","Talisman"],"materials":["Bronze","Engraving"]},"13783524-ad21-5247-9975-b2647b909a59":{"name":"Square Tray","short_description":"The central octagonal dished area with slanting walls is decorated with a medallion showing a sitting figure. The figure wears a crown and turns his head slightly to his elevated right hand. From similar banqueting scenes one could expect that he holds a beaker, but the drawing is unclear here. His left hand rests on his knee. To his left stands a dish with fruits. The background is partly filled with palmettes and half-palmette leaves.  \nElevated spandrels ornamented with palmette filled triangles lead to a square outer form. The square, in turn, is framed by a slightly raised flat platform with a rounded rim. Four almond-shaped fields with arabesque leaves decorate the corners of the platform. The long sides are engraved with rectangular epigraphic fields that state good wishes for the owner. They are hardly legible and partly abbreviated.  \nDue to the fragile condition it is unlikely that these objects served as trays for carrying. They are more convenient to serve as small table tops holding snacks such as nuts, sweet meats and the like.  \nSquare trays – two similar examples of which are held by the Victoria and Albert Museum – are a rare type among the large variety of metal trays or tabletops. A related type of rectangular format seems to be more common. The sitting figure is also exceptional as in most cases the central medallion shows a more or less elaborate winged sphinx.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 6th century / AD 12th century","location":"Bamberg","dimensions":"Height: 2.2cm, Width: 19.9cm","method_for_datation":"The large incised band with pointed knots around the central medallion and the three pointed cap of the kneeling figure are typical designs of Khorasanian decoration from early Seljuk times on.","method_for_provenance":"Similar engraved table tops of rectangular form come from the eastern Iranian world.","provenance":"Khurasan","obtention":"Purchased from Ibrahimi, Hamburg in 1995","bibliography":"Allan, J.W., *The Metalworking Industry in Iran in the early Islamic Period*, Oxford: Faculty of Oriental Studies, 1976: I 317-319; II, Fig. 61a.  \nMelikian-Chirvani, Assadullah Souren, *Islamic metalwork from the Iranian world, 8-18th centuries*, Victoria and Albert Museum catalogue, London: HMSO, 1982: 99-100, Nr 28, 29.","author":"Verena Daiber","copy_editor":"Daniel de la Vega","keywords":["household equipment","metalwork","table top"],"materials":["Bronze metal sheet with engraved decoration"]},"13a365e3-4bc6-52d1-9e8b-0f4149b407a2":{"name":"Plate","short_description":"The plate could be part of a tableware set or an incense burner. Decorated with a masterful engraving pattern and inlaid with precious metals, the object speaks to us using key Iranian symbols of lordship and happiness. In the centre is the Sun, which radiates life-giving light. Around, between the petals of the rosette, there are six pairs of birds, each pair sitting on opposite sides of a bowl. Two birds drinking from a bowl or fountain is an ancient Western Asian symbol of Paradise and immortality of a soul. Yet the Arabic blessings inscribed in *naskh* on the exterior walls are very \"earthly\": \"Long glory, prosperous life, great success, growth of majesty\". Such wishes were typical at the time, thus easily recognizable regardless of the level of education of the reader. The Z-shaped pattern of the background suggests that the plate could originate in the western part of Iran.","type":"Metalwork","holder":"The Khanenko Museum","dates":"AD late 13th–early 14th century","location":"Kyiv","dimensions":"Height: 2.5cm, Diameter: 13cm","method_for_datation":"Stylistic analysis and inscription reading by A. Ivanov (examination, 1966, date, origin).","method_for_provenance":"According to the entry in the old Museum Inventory Register (1925-1946).","provenance":"Iran, probably western part","obtention":"Purchased by Bohdan and Varvara Khanenkos. Donated by Varvara Khanenko in 1918, nationalized by Bolshevik regime in 1919.","bibliography":"Bilenko, Halyna and Vyshnevetska, Mariya, et al., *State Collections of Ukraine*, album, The Bohdan and Varvara Khanenko National Museum of Arts, 2009.  \nCanby, Sheila R., et al., *Court and Cosmos: The Great Age of the Seljuqs*, New York: The Metropolitan Museum of Art, 2016.  \nMelikian-Chirvani, A. S., *Le bronze iranien*, Paris: Musée des arts decoratifs, 1973.  \nRudyk, H. (ed), *Charisma of Iran. Persian art of 12th–19th centuries from museum collections of Ukraine*, Kyiv: The Khanenko Museum, 2017.  \nWard, R., *Islamic Metalwork*, London: British Museum Press, 1993.","author":"Antonina Makarevych","copy_editor":"Janice Medina","keywords":["copper alloy","gold and silver inlay","Iran","metalwork","Plate"],"materials":["cast","Copper alloy (bronze)","engraved","inlaid with gold and silver"]},"13bd50fd-6740-5159-92f1-64ca153e073c":{"name":"Measuring instrument (*mudd*).","description":"This measuring instrument, shaped like a trunk, consists of three welded pieces. The decoration is featured along three bands. The upper band holds the beginning of an inscription written in Maghrebi characters, which indicates that the object was made under the orders of the sovereign, Abu al-Hasan, as well as indicating its function. The space left empty by the writing is decorated with double palms. The middle band is adorned with four arches; each holds an inscription in Maghrebi characters that completes the preceding one; and one of these completes the inscription on the upper band. These four inscriptions offer information on both the genealogy of the sovereign and the calibration's origin, which goes as far back as the Prophet Muhammad. The space between the arches is decorated with double palms and floral ornaments. The lower band is decorated with two curving interlacing lines. This measuring instrument features a slit-pin to which a chain is attached made of foliage hooks at either end of which are double-palm shapes that are linked to two rings.  \nThis measuring weight of the *zakat al-fitr* (alms of the breaking of the *Ramadan* fast), used to weigh out the various cereals, was also used in commercial transactions.","short_description":"Alms-measure divided into three decorative sections including an inscription in Maghrebi characters mentioning the sovereign and the purpose of the object: to measure the *zakat al-fitr* (religious alms) or commercial transactions.","type":"Mudd, measuring instrument, copper","holder":"National Museum of Antiquities and Islamic Arts","dates":"Between Hegira 731 and 749 / AD 1331 and 1348.","location":"Algiers","dimensions":"Height 10 cm, diameter of the base 11.6 cm, diameter of the opening 8.1 cm.","method_for_datation":"The inscription on the measuring instrument mentions the name of the Marinid sovereign Abu al-Hasan (r. 731–49 /1331–48).","bibliography":"Dessus-Lamare, A., “Matériaux pour un catalogue du musée de Mustapha: Note sur un vase en cuivre gravé, employé comme mesure étalon”, *Revue africaine*, 1929, pp.162–95.  \nMarçais, G., *Le musée Stéphane Gsell, musée des antiquités et d'art musulman d'Alger*, Algiers, 1950.","author":"Ali Benbella","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["abstaining","Copper","epigraphy","fasting","floral adornments","floral decoration","gauging tool","lettering","Marinid","measuring instrument","mudd","zakat al-fitr"],"materials":["engraved and incised.","Yellow copper"]},"13d87f91-5798-5982-ac33-c5d1d97a1228":{"name":"Ewer","description":"This brass ewer stands out among a series of distinctive brass vessels in the FBQ museum that are known for their unique shapes, sizes, and intricate designs. Many examples feature cylindrical bodies with fluted or faceted patterns and lions in relief on their necks. These Persian Islamic ewers served various purposes, including holding beverages, serving at parties, holding water for hand washing, or ablutions for affluent owners and guests. Crafted by artisans for the ruling class and aristocrats, this handle-less ewer is meticulously embossed and engraved with mythical creatures, calligraphy, and arabesques. The neck of the ewer bears two seated lions and a deer in relief, while the flattened shoulder displays an unusual pseudo-Kufic script and a human head. The faceted body is adorned with richly detailed decoration divided into four horizontal sections, featuring winged hares (some with human heads) and pseudo-Kufic script (some letters are human-headed).  \nThe use of a ewer carries religious significance, as running water is necessary for Muslims to perform ritual ablutions before prayer. Thus a family member would pour fresh water from the ewer over the individual’s hands, symbolising purification and spiritual cleansing. Crafted from brass, this ewer showcases meticulous beating and engraving techniques characteristic of Persian Islamic metalwork from the 12th to 13th centuries. The relief craftsmanship depicting mythical creatures and calligraphy would have been achieved through embossing and engraving, while the pseudo-Kufic script and arabesque designs show the influence of Islamic artistic tradition. The richly detailed decoration reflects the skill and artistry of the artisans of Khorasan or Herat in Iran during this period.","type":"Metalwork","holder":"Sheikh Faisal Bin Qassim Al Thani Museum","owner":"His Excellency Sheikh Faisal Bin Qassim Al Thani","dates":"Hegira 6th–7th century / AD 12th–13th century","location":"Doha, Qatar","dimensions":"Length: 18cm, diameter: 5.5cm, base diameter: 7.5cm","place_of_production":"Iran, Khorasan or Herat","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, techniques, style and analogies.","method_for_provenance":"Provenance was established in research-based comparison from an examination of material, techniques, style and analogies.","provenance":"Iran","obtention":"Purchased","author":"Mahmoud Saber","copy_editor":"Judy Harter","materials":["brass","embossing","Engraving","metal"]},"15311622-4522-596a-a0dc-620f3b4687fe":{"name":"Knife in leather sheath","short_description":"The Kunstkammer of Rudolf II contained over 100 Turkish knives and daggers. This is a particularly sumptuous example of these knives used mainly as flatware; its iron handle is decorated with gold damascene work. The leather scabbard is embellished with rubies, turquoises and Arab inscriptions.","type":"Tableware","holder":"Kunsthistorisches Museum","dates":"Hegira 11th century / AD 17th century","location":"Vienna","dimensions":"Length: 24.9cm","method_for_datation":"Arthistorical and historical analysis, archival and inventory research","method_for_provenance":"Listed in the AD 1875 inventory of the imperial treasury in Vienna","provenance":"Turkey?","obtention":"Imperial treasury","bibliography":"Leitner-Böchzelt, Susanne and Pfaffenbichler, Matthias (eds), *Die Welt des Orients. Kunst und Kultur des Islam*, Leoben: Stadtgemeinde Leoben, 2006.","copy_editor":"Liz Cooper","keywords":["damascening","epigraphic decoration","Habsburg","inscription","kitchenware","military object","Ottoman army","Ottoman-Austrian relations","Rudolf II","weapon"],"materials":["Gold damascening on iron","leather","rubies","tourqoises"]},"1557e889-e4c0-511e-92f2-cf332ab357cf":{"name":"Incense burner.","description":"A circular incense burner with a hinged domed cover, standing on three curved feet in the form of stylised horse hooves. The cover is pierced to emit smoke. Christian figures with haloes, some carrying Christian liturgical items that include a cross and censer, inhabit the lobed arches around the body and cover; all but one is facing in a clockwise direction. Both the male and the female figures wear a long-sleeved gown which reaches almost to the ankles, with a shawl draped over the right shoulder. All the figures are bare-headed except for the one holding a cross who wears a turban. The medallion that does not contain a figure and which stands between two inhabited arches, was probably once the place of a handle. There is a benedictory inscription in kufic script around the apex of the lid to an anonymous owner. This burner belongs to a group of metal objects with Christian figures made during the Ayyubid period that may have been intended for either Muslim or Christian patrons. Given the fine quality of this burner it was evidently not a mass-produced household object but was more likely to have been created for a wealthy patron. The shape of the burner stems from the Byzantine tradition which continued to be popular in both Egypt and Syria during the 13th and 14th centuries.","short_description":"This incense burner is one of a group of inlaid metal objects with Christian figures made in Syrian or Mesopotamian workshops. It could have been commissioned for either a Muslim or a Christian patron.","type":"Metalwork, decoration object, silver and gold","holder":"The British Museum.","dates":"Hegira 596–647/ AD 1200–1250.","location":"London, England","dimensions":"Height 20 cm, width 12.5 cm, depth 12.5 cm.","method_for_datation":"Both the technique and decoration resemble several metal objects produced in Mosul and Syria in the 13th century, including objects such as the Blacas Ewer made in Mosul in 1232 (now in the British Museum), or a candlestick made in Syria in 1248–9, (now in the Musée des Arts décoratifs in Paris).","method_for_provenance":"The technique and decoration on this burner can be compared to that of other metal objects produced in Mosul and cities in Syria in the 13th century. The similarity of technique and style between the metalwork of northern Mesopotamia and Syria is due to the movement of metalworkers from Mosul to Syria in search of work under the Ayyubid sultans. For example, a ewer in the Louvre in Paris (dated AH 657 / AD 1258) was made by Husain Ibn Muhammad of Mosul for the Ayyubid Sultan Salah al-Din Yusuf, who ruled from Damascus.","provenance":"Syria or northern Mesopotamia.","obtention":"Bequeathed by John Henderson in 1878.","bibliography":"Baer, E., Ayyubid Metalwork with Christian Images, Leiden, 1989, fig.1, p.15–20.  \n  \nL'Orient de Saladin au temps des Ayyoubides, exhibition catalogue, Paris, 2001, cat. no. 96, p.113.","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["Byzantine","Christian themes","Cross","figurative decoration","kufic script"],"materials":["engraved","moulded brass inlaid with silver and gold."]},"156506f6-1fb1-58ab-8228-704b9a0cd0f9":{"name":"Sabre","short_description":"This sword was likely made for the Ottoman Sultan Süleyman the Magnificent (r. 1520–66). Its blade is chiselled in relief with Qur’anic verses, with the surrounding areas inlaid in gold. The inscriptions refer to victory in the Holy War and to the magical powers of the biblical King Solomon (Sulayman). Its guard is chiselled with gold-damascened flowers and was formerly inlaid with rubies. The grip, covered with dyed green fishskin (shagreen), is a later replacement.","type":"Sword","holder":"The Metropolitan Museum of Art","dates":"Hegira 10th century / AD mid-16th century","location":"New York","dimensions":"L: 96.2cm; Length of blade: 78.1cm, W: 15.5cm, Wt: 2lb5oz/1049g","provenance":"Ottoman Empire","obtention":"Bequest of George C. Stone, 1935","bibliography":"Alexander, David, Pyhrr, Stuart W. and Kwiatkowski, Will, *Islamic Arms and Armor in the Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 2015: 2, 155–57, no. 58, ill.  \nAlexander, David G., \"European Swords in the Collections of Istanbul: Part 2\", *Waffen- Und Kostümkunde: Zeitschrift Der Gesellschaft Für Historische Waffen Und Kostümkunde*, (1987): no. 95.  \nEkhtiar, Maryam, Canby, Shelia R., Haidar, Navina and Soucek, Priscilla P. (eds), *Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 2011: 313–14, no. 222, ill.  \nGrancsay, Stephen V., \"The George C. Stone Bequest: Indian and Persian Arms and Armor\", *The Metropolitan Museum of Art Bulletin*, (July 1937): 168, fig. 2a.  \nGrancsay, Stephen V., \"The New Galleries of Oriental Arms and Armor\", *The Metropolitan Museum of Art Bulletin*, (May 1958): 246, ill.  \nGrancsay, Stephen V. and Pyhrr, Stuart W., *Arms & Armor: Essays by Stephen V. Grancsay from the Metropolitan Museum of Art Bulletin 1920–1964*, New York: The Metropolitan Museum of Art, 1986: 177–185, fig. 63.17.  \nNickel, Helmut, \"Arms and Armor from the Permanent Collection\", *The Metropolitan Museum of Art Bulletin*, (Summer, 1991): 52–53, 64, ill.  \nPyhrr, Stuart W., \"Of Arms and Men: Arms and Armor at the Metropolitan, 1912–2012\", *The Metropolitan Museum of Art Bulletin*, (Summer 2012): 36–37, fig. 57.  \nWelch, Anthony, *Calligraphy in the Arts of the Muslim World*, Austin: University of Texas Press, 1979: 94–95, no. 30, ill.  \nWelch, Stuart Cary, *The Islamic World. Metropolitan Museum of Art Series 11*, New York: The Metropolitan Museum of Art, 1987: 124–25, no. 95, ill.  \nWelch, Stuart Cary, *The Islamic World*, New York: The Metropolitan Museum of Art, 2008: 124–25, no. 95, ill.","copyright":"The Metropolitan Museum of Art, Bequest of George C. Stone, 1935","keywords":["Anatolia","arms and armours","Blade","gold","hilt","inscription","iron","Ottoman","Qur'an","Qur'anic inscriptions","steel","sword","Turkey","weapon","weaponry","wood"],"materials":["Gold","Iron","shagreen","steel","Wood"]},"15a93784-d4c1-54ce-9448-02770e8b923f":{"name":"Coffee Cup Holder","description":"The rim is decorated with filigree. There are three coats of arms on it. There is a row of coral ornaments on the rim and triangular coral ornaments between the crests.","type":"Metalwork","holder":"Ankara Ethnography Museum","owner":"The Republic of Türkiye Ministry of Culture and Tourism","location":"Ankara","dimensions":"Height: 5.2cm, diameter: 5.2cm","copy_editor":"Alvaro Miranda","materials":["telkari (filigree) technique","Tombac and coral"]},"163ae238-7cdd-5bf2-b4ef-095207b4794d":{"name":"Candlestick base.","description":"A cast brass, inlaid candlestick of truncated conical form; it has bevelled ridges on both the upper and lower rims. The body is dominated by a central band of *naskhi* script divided into three sections. The sections are separated by three roundels containing Mamluk heraldic emblems, the style dating to the AH 8th / AD 14th century. The main decorative fields are embellished with fine floral scrolls inlaid with silver; a black niello substance is used as inlay to fill in the background of the floral patterns, thus emphasising the fine details of the scrolls. The inscription describes the patron who commissioned the candlestick. Many such candlesticks would have been presented for use in mosques, shrines and religious schools in Egypt. The Mamluk rulers of Egypt and Syria became great patrons of art and architecture. Cairo was their capital, which they ruled from AH 647 / AD 1250 to AH 922 / AD 1517.","short_description":"This candlestick was made for presentation to a mosque or *madrasa*, and is decorated with the titles of the Mamluk patron who commissioned it, stating: 'by the most noble authority, lofty, lordly, great; the kingly, supportive, … provider of protection; the masterful, maintainer, prince al-Nassiri'.","type":"Metalwork, cast brass","holder":"Burrell Collection, Glasgow Museums.","dates":"Hegira 8th century / AD 14th century.","location":"Glasgow, Scotland","dimensions":"Height 26 cm, diameter (of base) 22.8 cm.","method_for_datation":"Stylistic analysis, together with analysis of the titles described in the inlaid scripts and the Mamluk heraldic emblem.","method_for_provenance":"Analysis of the Mamluk heraldic emblem and inlaid scripts.","provenance":"Egypt.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Brend, B., *Islamic Art* , London, 1991.  \n  \nJones, D., and Michell, G., (ed.), *The Arts of Islam* , exhibition catalogue, London, 1976.  \n  \nWard, R., *Islamic Metalwork*, London, 1993.","linkcatalogs":"IAM_EG_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["calligraphy","patronage","waqf"],"materials":["Cast brass","with silver and niello inlay."]},"16b96c34-f74c-522d-859e-21edcc8306fd":{"name":"Bowl.","description":"The bowl has a rounded base, inward-sloping sides and a narrow vertical rim. The decoration of the exterior surface is divided into two horizontal zones based on floral, geometrical and epigraphic elements. In the wide upper zone, a large *naskhi* inscription is set against a background of arabesque scrolls and leaves interrupted by five roundels containing whirling rhombs within a border of arabesques. The inscription refers to an anonymous amir enumerating the usual titles such as highness, the lordly, the protector and defender of the frontiers or the fortified by God. To judge from the remains, the letters and floral elements were overlaid with silver and the depressed areas were filled with a black substance. Both colours, silver and black, were used to set off the design. Beneath the inscription, there is a narrow plain band, which contains the name of a later owner, al-Qasim ibn Ahmad, and the year AH 1093 (AD 1682) engraved in a cursive script. Towards the base the decoration is edged with an arabesque with lancet leaves. Inside the bowl is completely black. There is a hole drilled in the bottom.","short_description":"Bowl with a rounded base and a narrow rim. On the outside, the bowl is decorated with floral, geometrical and epigraphic motifs. The inscription refers to an anonymous amir. A narrow band below the inscription gives the name of a later owner, al-Qasim ibn Ahmad and the date AH 1093 (AD 1682).","type":"Bowl, metalwork","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","owner":"National Museum of Fine Arts, Stockholm. In order to reorganise the expanding collections, the main part of the Islamic collection has been on permanent loan to the Museum of Mediterranean and Near Eastern Antiquities since 1982.","initial_owner":"The original owner is not known, but in the narrow plain band beneath the inscription zone, the name of a later owner, al-Qasim ibn Ahmad, is engraved with the date AH 1093 (AD 1682).","dates":"Hegira 8th century / AD 14th century.","location":"Stockholm","dimensions":"Height 11.9 cm, diameter 23.8 cm.","method_for_datation":"The shape of the bowl and the inscription were popular with Mamluk amirs throughout the 8th / 14th century in Egypt and Syria. Figurative motifs seem to have gone out of fashion at the end of the 7th / 13th century and the beginning of the 8th / 14th century in favour of bold *naskhi* inscriptions enumerating the titles of the sultans or amirs.","method_for_provenance":"The vessel has a form typical of Mamluk bowls. The bowl shape and the inscription were popular with Mamluk amirs throughout the 8th / 14th century in Egypt and Syria.","provenance":"Syria or Egypt.","obtention":"Gift of the Swedish Crown Prince Gustaf Adolf to the National Museum in 1935. The bowl was purchased by him from Maurice Nahman in Cairo a year before.","bibliography":"Allan, J. W., *Islamic Metalwork: The Nuhad Es-Said Collection*, London, 1982.  \nAllan, J. W., *Metalwork of the Islamic World: The Aron Collection*, London, 1986.  \nAtil, E., *Renaissance of Islam: Art of the Mamluks*, Washington, 1981.  \nBaer, E., *Metalwork in Medieval Islamic Art*, New York, 1983.  \nMelikian-Chirvani, A. S., “Deux Chandeliers Mossouliens”, *Bulletin des Musées et Monuments Lyonnais* 3, 1970, pp.45–63.","linkcatalogs":"IAM_EG_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["epigraphic decoration","metalwork"],"materials":["black substance","brass","engraved","inlaid.","Silver"]},"172c7d19-97b3-552c-8815-9f6af6f53379":{"name":"Pitcher for rose extract (*gulabdan*)","description":"In the past, people poured *gulab* (rose extract) over their hands for purification purposes after eating.","type":"Tableware","holder":"Azerbaijan National Carpet Museum","dates":"Late Hegira 13th / AD 19th century","location":"Baku","dimensions":"Height: 30cm, diametre: 10cm","place_of_production":"Azerbaijan","method_for_datation":"By stylistic and comparative analyses with related material","obtention":"Purchased in 1994","author":"Rustam Afandiyev","keywords":["Azerbaijan","Copper","gulabdan","pitcher","rose extract"],"materials":["copper","engraved"]},"17666a11-01b4-52c2-96f9-bcfc12f3f7f7":{"name":"Brazier.","description":"An iron and bronze brazier of the AH 2nd / AD 8th century, perfect in both the craftsmanship of the relief and in the rendition of the figures in the round. This object is probably one of the best-known and complete of all the Umayyad heating stands to be found in Jordan.  \n  \nThe front plaque consists of six niches surrounded by arcades reposed over columns. The erotic scenes that appear in the niches probably represent the myth of Dionysus and his entourage. The brazier stands on four eagles, while the upper angles have four nude female figurines holding a bird in their left hand.  \n  \nThe combination of iron and bronze form a happy union and make for a beautiful design. The arcaded sides remind one of the vaulted halls at Qasr al-Amra, and the erotic scenes depicted (within) call to mind the frescoes on the walls of the apodyterium (dressing room) of the bath complex (*hammam*) at Qasr al-Amra. The eagles that support the stand, together with the nude female figurines that stand 47 cm high on their narrow pedestals. Part of the inherited oriental iconography, the artisan integrates Iranian cultural traits with the oriental Greco-Roman style.  \n  \nBronze braziers played an important role in the ceremonials of court life. The main function was to heat the caliph's room but they were also used as incense burners in the palace.","short_description":"An iron and bronze brazier from the Umayyad palace of al-Fudayn. Its front plaque bears erotic scenes that probably represent the myth of Dionysus. Part of the inherited oriental iconography, the artisan integrated Iranian cultural traits with the oriental Greco-Roman style.","type":"Brazier, metalwork","holder":"Jordan Archaeological Museum.","owner":"Now on display at Jordan Museum","dates":"Hegira 2nd century / AD 8th century.","location":"Amman","dimensions":"Height 47 cm, length 58 cm.","method_for_datation":"The object was dated by its stratigraphic context, and association with Umayyad pottery vessels and shards also found at the site.","method_for_provenance":"Where this object was produced is unknown but it was found during archaeological excavation work at al-Fudayn, a site located in Mafraq.","provenance":"Hallado en al-Fudayn.","obtention":"The object was found during an excavation in 1986 that took place at al-Fudayn, a site located in Mafraq which lies 70 km north-east of Amman, where a palace and a mosque were discovered. Many metal objects, steatite vessels, ivory and ceramic pots were also found, dating back to the Umayyad period.","bibliography":"Bienkowski. P., *The Art of Jordan* , Glasgow, 1991, p.99, cat. no 118.  \nHumbert, J. B., 'El-Fedein-Mafraq', *Liber Annuus* 36, 1986, pp.354–8, plate 75.  \nHumbert, J. B., 'El-Fedein-Mafraq' in *Contribution Française à l'Archéologie Française Jordanienne, Amman* , 1989, pp.125–31.  \n*La voie royale: 9000 ans d'art au royaume de Jordanie*, exhibition catalogue, Paris, 1986, p.268.","linkcatalogs":"IAM_JO_EN_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","keywords":["Apodyterium","architectural motifs","brazier","eagles","erotic imagery","Figurative representation","Hammam","iconography","Incense burner","metalwork","relief decoration"],"materials":["cast.","Iron and bronze"]},"177765c0-4c0d-540e-9196-1b9816f5e481":{"name":"Ewer","description":"The rounded body has flat sides, and is inscribed with Arabic script. It stands on a conical base with a long, slender neck bearing seven protrusions. The vessel has a lid, broken at the riveted section. From the body rises a long spout, inclined forward, with a hexagonal surface; its tip ends in a spur. An S-shaped handle joins the shoulder to the rim, with two perforations at its lower end and a notched ornament at the centre. The conical base and neck are undecorated, while incised floral motifs adorn the shoulder and body.","type":"Ewer","holder":"Diyarbakır Museum Directorate","location":"Diyarbakır","dimensions":"Mouth diameter: 3.7cm, height: 35cm, base diameter: 11.8cm","copy_editor":"Alvaro Miranda","keywords":["calligraphy","Copper","ewer","Ottomans","water"],"materials":["copper"]},"18e02623-b9ad-5163-8ba9-d958a15a6f01":{"name":"Dagger","description":"Wooden handled dagger with thin silver sheath; incurved geometric designs on the obverse side; inset with turquoise and black stones. The dagger was used by both Bedouins and villagers as part of men’s traditional garb. This object reflects the diverse population composition of Jordan in the late 19th and early 20th centuries. It also demonstrates personal attire, fashion, local costumes and rites.","type":"Men’s holdings; arms; weapon","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"19a79dbf-5845-53ed-a137-ee4c74fd1299":{"name":"Inkpot and blotter","alternate_name":"Personal belonging of Dimitrija Chupovski; Mastilnica and popivatelna hartija","description":"Dimitrija Chupovski (1878-1940) devoted his life to raising the awareness of Macedonians about their national identity. He worked actively on the recognition of Macedonian as distinct Slavic language and prepared the grammar of the modern Macedonian language. He also contributed to opening schools for children in Macedonia to learn in their native language.","type":"Piece of a writing set","holder":"Museum of Macedonia","dates":"Early 20th century","location":"Skopje","author":"Nada Andonovska (author)","copy_editor":"Daniel de la Vega"},"1a2dd605-e515-506f-b3e0-89e24d47949b":{"name":"Apod bowl","description":"This flattened subglobular bowl, apodal with a rounded base, has a short rim flared upwards and a wide mouth. The external decoration is distributed in horizontal bands, the lowest of which depicts a series of intertwined arches ending at the bottom with palmettes. In the central band, ten epigraphic cartouches with benevolent inscriptions are alternated with ten large medallions with hunters riding horses and pairs of musicians. The upper band depicts animals, including hares, felines, sphinxes, caprids and dogs. The interior decoration,  at the bottom of the bowl, features a radial motif in the centre, a solar symbol, around which alternating fish and harpies rotate. The bowl was intended to hold water. The iconographic repertoire, including court scenes and motifs alluding to water and sunt, expresses the wish for eternal life for the owner of the object. This type of bowl was highly sought after during the Ilkhanid period in Iran, as demonstrated by the examples of the Freer Gallery of Art in Washington and of the Galleria Estense in Modena.","type":"Basin","holder":"Museum of Civilisations","owner":"Italian State","dates":"Hegira 7th- 8th century / AD 13th-14th century","location":"Rome","dimensions":"Height: 12,4cm, maximum diameter: 26.5 cm","place_of_production":"West Iran","method_for_datation":"Stylistic and formal analysis.","obtention":"Purchased.","bibliography":"Scerrato, U., \"Nuove acquisizioni dei Musei e Gallerie dello Stato. Roma. Museo Nazionale di Arte Orientale. Arte iranica preislamica. Arte islamica.\", Bollettino d’Arte 58/4, 1973, p. 245, fig. 245.  \n  \nDi Flumeri Vatielli, G., \"Metalli - Archeologia islamica in Afghanistan - Ghazni\", Arte dell’Islam, ed. by Torre, P., Di Flumeri Vatielli, G. and Jung, M., Città di Castello, 2010, pp. 35-45, figg. 34 and 36b.  \n  \nDi Flumeri Vatielli, G., entry no. 66, Acqua, Islam e Arte, ed. by Vanoli, A., Cinisello Balsamo, 2019, p. 108.  \nManna, G., entry no. 10, Guida breve al Museo di Arte Orientale “Giuseppe Tucci”, ed. by Polichetti, M. and Manna, G., Roma, 2020, p. 19.  \n  \nDi Flumeri Vatielli, G. and Giunta, R., I metalli islamici. La collezione del Museo delle Civiltà Museo d’Arte Orientale “Giuseppe Tucci”, Roma, 2022, pp. 163 and 346.","author":"Maria Toscano","keywords":["bowl","hunting","Inscriptions","Metals","Music."],"materials":["Brass inlaid with gold and silver"]},"1ac57bea-f345-5d3c-b1a1-11259af10e0c":{"name":"Bowl (*jam*)","short_description":"The large footed bowl is decorated with a typically Safavid design consisting of horizontal bands of interlaced semi-circular arches, three-lobed medallions, scrolling vines, and flowers. Below the rim, an elegant Arabic inscription in *nasta'liq* script invokes divine protection and blessings for the ‘Fourteen Pure Ones’ (Pers. *čaharda ma‘sum*) – the Prophet Muhammad, his daughter Fatima, and the twelve imams venerated in the Duodeciman Shi’ism. The presence of such inscriptions on metalwork from western Iran dating back to the establishment of the Safavid State (1501) is directly related to the extensive religious propaganda which ultimately led to Shi'ism becoming the official religion of Iran.","type":"Metalwork","holder":"The National Museum of Art of Romania","dates":"Hegira Rabiʻ al thani 1(0)82 / AD 7 August – 4 September 1671","location":"Bucharest","dimensions":"Height: 19cm, Diameter: 37.5cm","method_for_datation":"Dated below the rim","method_for_provenance":"Stylistic analysis, inscription","provenance":"Iran","obtention":"Former royal collection, Foişor Castle, Sinaia. Transferred to the Museum in 1948.","bibliography":"*Arta iraniană în colecţiile din Republica Socialistă România*, Bucharest: Muzeul de Artă al Republicii Socialiste România, 1971: 54, cat. no.152.  \nDunca, M., *Scrierea în arta islamică*, Bucharest: National Museum of Art of Romania, 2000: 47, cat. no. 17.  \nMelikian-Chirvani, A.S., *Islamic Metalwork from the Iranian World, 8-18th centuries*, London: Victoria and Albert Museum, 1982.","author":"Mircea Dunca","keywords":["bowl"],"materials":["engraved decoration","Tinned copper"]},"1b9f2cfd-d948-5273-a47b-a0eb83cc7069":{"name":"Qur'an stand (*kursi*)","short_description":"This tall, hexagonal brass side table has a flat top, six-sided body, and six baluster-shaped feet. The table is inlaid with inscriptional panels offset by engraved or pierced vegetal patterns. The sides are composed of several panels inset within a frame. This stand may originally have been used to support the Qur’an as it was read. For protection, the Qur’an could be stored inside the stand by opening the small doors and placing the text within.","type":"Islamic, Indian & Southeast Asian works of art; Metalwork","holder":"Shangri La, Doris Duke Foundation for Islamic Art","dates":"Hegira c. 1317 / AD 1900","location":"Honolulu, Hawai'i","dimensions":"Overall: 86 x 47 x 47 cm","provenance":"Egypt, probably Cairo","keywords":["brass","Copper","copper alloy","Egypt","furnishing","geometric motifs","inlay","inscription","kursi","Neo Mamluk","Neo-Mamluk","Qur'an","revivalism","silver"],"materials":["Copper alloy (brass)","inlaid with silver and copper inlay"]},"1d0c0bff-d4e8-59b7-bd8f-5d6f7251d877":{"name":"*Adoring Angel*","description":"Georg Raphael Donner was one of the most prominent and influential Central European sculptors of the first half of the 18th century. He developed his individual Neo-Classical style at a distance from the Baroque tradition, relying on models from antiquity and 16th-century Italian sculpture. His first monumental works were made for Pozsony (Bratislava) Cathedral, commissioned by Prince Primate Imre Esterházy.  \nFirst of all he worked on the decoration for the Chapel of St. John the Almsgiver, executing the archbishop's sepulchral statue (1729–32). Later, he created the sculptural group of St. Martin and the beggar, as well as two adoring angels for the new high altar in the cathedral (1733–1735). This significant work is characterised by the perfect harmony between the sculpture and architecture; the idea and the form. The crowned canopy of the altar was originally carried by enormous free-standing fluted columns. The central figural group featured St. Martin seated on the back of a rearing horse. He shares his flowing cloak with the beggar lying on the ground. St. Martin is wearing a Hungarian noblemen's outfit and has the facial features of the archbishop. The beggar of heroic stature is looking at the saint with Christ's face, but the saint does not recognise him immediately. An external viewer of the altarpiece cannot recognise Christ's face either, because it is seen in semi-profile. Two huge kneeling angels join the scene on either side, their adoration directed towards the disguised Redeemer. Despite minor differences in movement, hand gesture and in the arrangement of drapery, the adoring angels are practically symmetrical; they are dignified celestial creatures, although their finely modelled, strong bodies are very real. Their pose expresses intimate and perfect veneration.  \nThe beauty of the modelling is enhanced by the subtle grey hue and silken lustre of lead, which also lends an earnest, reserved and elegant appearance to the statues. With these statues, Donner reached an initial peak of his oeuvre. The altar was dismantled in the 1860s when the cathedral was rebuilt in the Neo-Gothic style. The main group of the equestrian statue today is in the side aisle of Bratislava Cathedral, and the two adoring angels are part of the permanent collection at the Hungarian National Gallery.","short_description":"The most important patron of the Viennese sculptor was Primate Imre Esterházy in Pozsony (Bratislava). The high altar of Pozsony (Bratislava) Cathedral was one of Donner's most significant works, but after it was demolished in the 19th century, the group of St. Martin and the beggar can be seen in the nave today, while the two huge angels were taken to Budapest in the 19th century.","type":"Sculpture","holder":"Hungarian National Gallery","initial_owner":"St. Martin’s Cathedral, Pozsony (Bratislava)","dates":"1733–1735","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 200 cm","place_of_production":"Pozsony (Bratislava)","method_for_datation":"By historical documents","provenance":"St. Martin’s Cathedral, Pozsony (Bratislava)","obtention":"St. Martin’s Cathedral, Pozsony (Bratislava); purchased by the National Museum, Budapest in 1875; transferred to the Hungarian National Gallery, Budapest in 1976","bibliography":"Pötzl-Malikova, M., “Zu Leben und Werk Georg Raphael Donner” in *Georg Raphael Donner 1693–1741,* exhibition catalogue, (ed. M. Krapf), Wien, 1993, pp.31–83.  \nMojzer, M., “Die szenische Ordnung des pressburger Hochaltares von Georg Raphael Donner” in *Georg Raphael Donner 1693–1741,* exhibition catalogue, (ed. M. Krapf), Wien, 1993, pp. 101–107.","author":"Zsuzsanna Boda","copy_editor":"Terézia Bardi","translator":"Judit Pokoly","translation_copy_editor":"Mandi Gomez","keywords":["Bratislava","Christian themes","funerary architecture","Funerary monument","Italian influence","metalwork","Pozsony"],"materials":["Lead–tin"]},"1dec3c6e-e957-5322-afe4-42cea2c75ee9":{"name":"Ewer and Basin Set","description":"In this set, the entire body of the ewer, together with the basin's rim and part of the lid strainer, is reeded. The ribs are alternately engraved with simple leaf ornaments. The ewer has a swan-neck spout, a cast handle and a thumb piece in the form of a bird on the top of the domed lid. The basin has a very wide, flaring reeded rim, decorated in the same manner as the ewer.  \n  \nThe bottom of the lid is perforated, while the highly raised central section serves as a stand for the ewer. An Ottoman inscription with the craftsman's name and date is engraved on the body of the ewer and on the rim of the basin: Sa’âdetlü Zernâb Kalfa AH 1307/ AD 1889-1890. The rim of the lid bears an unidentified stamped Ottoman mark.","type":"Metalwork","holder":"Museum of Applied Art","owner":"Museum of Applied Art","dates":"AH 1307 / AD 1889-1890","location":"Belgrade","dimensions":"Ewer height: 37.5cm, basin diameter: 37cm","place_of_production":"possibly Prizren","method_for_datation":"By stylistic and comparative analisys with related material.","method_for_provenance":"Research and documentary evidence.","provenance":"Balkans","obtention":"Purchased in 1953.","bibliography":"Karamehmedović, M. A., *Umjetnička obrada metala*, Sarajevo: Veselin Masleša, 1980: 447.","author":"Mila Gajić","copy_editor":"Zeina Al Amad","keywords":["Balkans","brass","ewer and basin","metalwork","Prizren"],"materials":["brass","Casting","Engraving","hammering"]},"1df2efa8-09f6-56fe-b40d-5cff853bf496":{"name":"Revolver","alternate_name":"'Montenegrin' revolver","description":"A Belgian produced double action revolver, serial number 6647, with a five-shot cylinder. Fitted with chequered wooden grips, this revolver features some simple leaf and scroll pattern and border engraving of the frame and cylinder. The base of the cylindrical barrel, where it is attached to the cylinder, has a crowned “R”. The cylinder itself is decorated with a strand of small 6-pointed stars. On the left side of the revolver are the words \"*Dassen Patent, Guss Stahl*\".","type":"Handgun; arms; firearms","holder":"Jordan Folklore Museum, Department of Antiquities","dates":"Late 19th century – early 20 century","location":"Amman","provenance":"Belgium","author":"Mohammad Najjar","copy_editor":"Daniel de la Vega"},"1e88ab3a-3f62-5a22-b9a2-264a8573788d":{"name":"Two pistols","alternate_name":"Knee pistols","description":"These Turkish flintlock pistols were used by the Ottoman soldiers in Lebanon in the 19th century to quash resistance movements. As the Lebanese resistance had no weapons of their own, the fighters frequently ambushed Ottoman soldiers and took their weapons. These pistols are an example of such weaponry, which was taken by the resistance and used against the Ottomans. They were commonly known as \"knee pistols\", as they were fired from horseback by placing the butt of the pistol against the rider's knee. Both have a typical blunderbuss style stock with a beautifully shaped butt stock, a wooden forend and a round barrel. They are made of wood and cast steel.","type":"Military object; metalwork; firearms; arms and armour","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","provenance":"Turkey","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"1f5849a0-4eae-5275-9603-dfe4acb6e862":{"name":"Ewer (*ibrik*).","description":"A ewer (*ibrik*) with a pear-shaped body, a handle and a spout decorated with plant motifs and inscription friezes. The shoulder of the ewer is filled with a frieze written in *naskhi* script. A second frieze, formed of plant motifs, appears directly below. Further inscriptions in *naskhi* script are found on the neck and spout. The floral motifs and inscriptions adorning the ewer are embellished with silver leaf, while the frame of the inscription on the shoulder is embellished with red-copper leaf. The inscriptions on the shoulder and spout wish glory, fame, success and long life to the owner of the vessel. This ewer is of great importance both as a dated example of Mesopotamian work and because its inscriptions provide the names of two Mosul craftsmen.","short_description":"Mosul was an important centre of Islamic metalwork during the Zangid period. This centre had a great influence on the technique and style of Artuqid metalwork in Anatolia. The inscription states that it was made by a master called 'Iyas of Mosul. It has the characteristics of its period.","type":"Ewer, metalwork","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira 627 / AD 1229.","location":"Sultanahmet, Istanbul","dimensions":"Height (without lid) 39 cm; diameter (of base) 16.5 cm; maximum diameter 20 cm.","method_for_datation":"An inscription on the neck states that the ewer was made by 'Iyas, the assistant of master Abd al-Karim ibn al-Turabi of Mosul' in 627 / 1229.","obtention":"Brought from the tomb of Süleyman Pasha in Gelibolu on 11 December 1911.","bibliography":"Erginsoy, ü., *İslam Maden Sanatının Gelişmesi*, Istanbul 1978.  \n  \nölçer, N. *et al, Museum of Turkish and Islamic Art,* Istanbul, 2002, pp.78–9.","author":"Alev Özay","translator":"Barry Wood","translation_copy_editor":"Mandi Gomez","keywords":["brass","calligraphy","ewer (ibrik)","floral decoration","inscription","naskhi","vegetal decoration","zangids"],"materials":["Cast and engraved brass inlaid with red-copper and silver."]},"20ddf7d0-c8c3-5985-8cd5-4be93c3b922b":{"name":"Qur’an box.","description":"This Qur’an box was constructed to contain a Qur’an made of 30 fascicles. It was probably produced at the request of a Mamluk sultan or a high dignitary, in order for them to donate it to a religious foundation (mosque, *madrasa* or mausoleum).  \nThe box, which is supported on four legs, consists of a square wooden box covered in brass plates. The sloping, desk-like lid is attached on the back by two hinges and has a buckle on the front through which to put a lock. Each brass plate is decorated and features inscriptions in gold and silver inlay. The inside of the box is upholstered in fabric and has two compartments, each with 15 divisions, in which to put a Qur’an. The outer sides are covered in Arabic inscriptions, in *kufic* and *thuluth* script, that protrude from the surface; the calligraphy covers a backdrop composed of small-scale plants including lotus blossoms. Quotations from the Qur’an run along the length of the outer surfaces (Sura 24 verse 35 and Sura 2 verse 255 ‘Ayat al-Kursi’). More quotations are found on the desk-like lid and on the narrow inscription friezes (Sura 3 verses 26–7, Sura 26 verses 192–9, Sura 56 verses 76–89 and 92–5, and Sura 59 verses 22–4). The underside is decorated with geometric patterns.  \nBoth a name and the 30 Qur’an fascicles are missing. Two related Qur’an boxes from the same period, around AH 730 / AD 1330, have survived in Cairo. One of these displays the name of the Mamluk sultan al-Nasir Muhammad and the date AH 723 / AD 1322. It now belongs to the library of al-Azhar mosque. The second, undated, box is housed in the Museum of Islamic Art in Cairo.  \nIn Mamluk Egypt, Qur’ans were usually kept in boxes (*sunduq*) or in freestanding metal cabinets (*kursi*). Because they were used constantly, few of the actual Qur’ans survived.","short_description":"This square box, supported on four legs, was made to hold a now missing Qur’an of 30 separate volumes, which were placed in two rows of 15 compartments. Magnificently executed Qur’anic inscriptions in different scripts lavishly decorate the exterior in gold and silver.","type":"Box, Quran, metalwork","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"Around Hegira 730 / AD 1330.","location":"Berlin","dimensions":"Height 27 cm, width 42.5 cm, depth 42.5 cm.","method_for_datation":"The name of the maker of this Qur’an box also appears on a tall *kursi* (an octagonal cabinet which houses a Qur’an) housed in the Museum of Islamic Art, Cairo, and dated to 727–8 / 1327–8. It is thought that the Berlin Qur’an box dates from the same period.","method_for_provenance":"Inlaid Qur’an boxes such as this one were only known in Mamluk Egypt, and it was here where they were also made.","provenance":"Cairo, Egypt.","obtention":"Acquired from a private art gallery in Cairo in 1904 through B. Moritz.","bibliography":"*The Arts of Islam*, Catalogue, Hayward Gallery, London 8 April – 4 July 1976, London, 1976, no. 214.  \nAtil, E., *Renaissance of Islam: Art of the Mamluks*, Washington, 1981, no. 25.  \n*Islamic Art in Egypt 969–1517*, Catalogue, Cairo, 1969, nos. 60–2.  \nJames, D., *Qur’ans of the Mamluks*, London, 1988.  \nZaky, M. H., *Atlas of Moslem Decorative Arts*, Cairo, 1956, fig. 512.","linkcatalogs":"IAM_EG_EN_001","author":"Jens Kröger","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["inlay","metalwork","Qur’an","Qur’an box"],"materials":["Bronze sheets on a wooden core","gold and silver inlay."]},"211781ad-6226-573b-b2c2-fd83e8a3b8d0":{"name":"Ornamental vase","description":"Clement Heaton (1861–1940) created this spectacular vase in Neuchâtel around 1895. It fuses the traditional art of the coppersmith and the cloisonné enamel technique that he mastered to perfection. When he moved to Switzerland from England, Heaton brought with him the ideals of the Arts and Crafts Movement that sought to achieve a revival of handicrafts. Quality craftsmanship should enjoy the same status as traditional art forms and be recognizably different from mass-produced goods. Around the turn of the century, Heaton was among the most innovative craftsmen and decorators working in Switzerland. Besides cloisonné, he also specialized in embossed wallpaper and monumental stained glass windows. For the front elevation of National Museum Zurich, he produced mosaics to designs by Hans Sandreuther (1850–1901). After a fire destroyed his workshop, Heaton moved to the USA in 1914 and continued his career there.","type":"Ornamental vase","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"Around 1895","location":"Zurich","dimensions":"H: 32cm, Diameter 51cm","method_for_datation":"Stylistic analysis","provenance":"Switzerland, Neuchâtel","obtention":"Bought in 2017","keywords":["Clement Heaton","Cloisonné enamel","Hammered copper","Neuchâtel","Non-ferrous metal","Ornamental Vase"],"materials":["enamel inlay","Hammered copper"]},"2148378e-ed51-54d7-8628-5698440d8323":{"name":"Bowl","short_description":"Brass bowl inlaid with silver and gold featuring benedictory *thuluth* inscriptions lauding an (unnamed) sultan inside cartouches which alternate with roundels of princely horsemen, a narrow band below the rim with alternations of inscriptions in gold inlay and sphinxes in silver; various roundels, bands and interstices with an infinite-repetition 'small figure' pattern (based on the grouping of the equilateral triangles of a 60 degree grid).","type":"Vessels & receptacles","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira 700–725 / AD 1300–1325","location":"Kuwait City","provenance":"Iranian World","keywords":["bowl","calligraphy","inscription","metalwork","Thuluth"]},"2184e121-7b3f-56ae-88e3-58f65474e492":{"name":"Hemispherical basin","short_description":"The central medallion on the interior is engraved with a caparisoned elephant whose trunk terminates in a bearded human head. The elephant bears a *howdah* with three figures. At the head of the animal there is the *mahout*, while at the tail is a musician. An inner band of quails or partridges moving to the right and a central band of long-eared hares running on the opposite direction surround the animated scene. The outer band along the rim is decorated with benedictory inscription in *kufic* against a ring-matted background. The exterior has a central engraved star formed by two interlaced triangles; the resulting central hexagons and the points of the stars are decorated with floral motifs. A band of benedictory inscription in *kufic* is around the rim.","type":"Basin; high-tin bronze; engraving","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"AD 11th–12th century","location":"London","dimensions":"Diameter: 20 x 46cm","method_for_datation":"Date and provenance are based on stylistic comparisons as well as the material and techniques used in its production.","provenance":"Greater Iran, Khurasan or Afghanistan","obtention":"Drouot, Paris, sale of 14 April 1981, lot 98.","bibliography":"Rogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.21, pp.44–5.","keywords":["Basin","Elephant","engraving","high-tin bronze","howdah","Iran","kufic","metalwork","musician","Seljuq"],"materials":["cast and engraved","High-tin bronze"]},"21c42fcf-6ea0-5b03-806f-1c26bfd70692":{"name":"Ewer.","description":"A large ewer, made of hammered sheet brass inlaid with silver, with a flaring mouth, rounded body, and spreading foot; a curved handle is joined to the neck and body, and the spout is long and thin with a polygonal end. A bulbous element, which may be a later addition, is attached to the neck. Other than the ring of raised (*repoussé*) trefoil motifs around the base of the neck, the decoration consists mostly of engraving and inlaid silver. While the handle and spout are adorned with simple arabesques, most of the neck and body of the ewer are given over to remarkable little scenes in which real and fantastic animals – including lions, deer, rabbits, birds, and even elephants – are depicted amidst palm trees and luxuriant plants. A large inscription around the top section of the body says that the ewer was made for the wife of Sultan Qaytbay, whose name, we know, was Fatima. Unlike the rest of the decoration, the inscription is not inlaid with silver; rather, the letters are left plain and polished, and the spaces between the letters are filled with simple, if tightly coiled, arabesques which provide a contrasting background. A second inscription, found on the underside of the foot, records that the ewer was made by someone named Ahmad.  \nThe figural decoration on the ewer provides a fascinating contrast with the kind of decoration normally found on objects made during the reign of the pious Qaytbay, which tend to have bold calligraphy and/or abstract decoration, but no figural representation in keeping with the strictures of the orthodox. Examples include the brass basin made for the Sultan (UK2 13) or the *minbar* with his name on it (UK2 10). The figural imagery on Fatima's ewer surely indicates that it was a private commission, meant for her personal use. The scenes of animals amidst trees reflect imagery found in contemporary Arabic poetry and may be meant to evoke religious associations with the verdancy of Paradise.","short_description":"A large brass ewer with decoration in inlaid silver. The decoration includes real and imaginary animals amidst trees and plants. The inscription states that the ewer was made for the wife of Sultan Qaytbay, and the presence of figural decoration suggests that it was for her private use.","type":"Metalwork, brass, copper","holder":"Victoria and Albert Museum.","initial_owner":"Fatima, wife of Sultan Qaytbay.","dates":"Hegira 872–901 / AD 1468–96.","location":"London","dimensions":"Height 47.6 cm, width 36 cm.","method_for_datation":"The inscription states that the ewer was made for the wife of Sultan Qaytbay, who ruled from 872–901 / 1468–96.","method_for_provenance":"It is probable that a royal commission would have been made in the capital.","provenance":"Probably Cairo, Egypt.","obtention":"Purchased by the Museum in 1900.","bibliography":"Mayer, L., *Islamic Metalworkers and Their Works,* Geneva, 1959, p.27.  \nStanley, T., with Rosser-Owen, M. and Vernoit, S., *Palace and Mosque: Islamic Art from the Middle East,* London, 2004, p.56, p.90 and p.98.  \nWard, R., *Islamic Metalwork,* London, 1993, pp.116–7.","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["figurative decoration","floral decoration","imaginary animal","water","zoomorphic imagery"],"materials":["Brass inlaid with silver and possibly copper."]},"2226f421-a01c-56bf-809f-7d0c2067f79e":{"name":"Lamp holder.","description":"A large brass lamp holder; a hexagonal base tapers upward to an upper structure which once supported a dome, now lost, to which the suspension chain would have been attached. The bottom of the structure would have held several small glass oil lamps, accessed through a door in one of the six sides which is now missing. The sides are pierced to let the light from the lamps through, as well as engraved and inlaid with designs in which an inscription medallion praising Sultan Qaytbay is nestled among floral decoration. A large inscription band at the bottom of the lamp holder, repeated in smaller calligraphy in a parallel band at the top, declares: 'Glory to our lord the Sultan, the most noble ruler, sultan of Islam and the Muslims, reviver of justice in the world, suppressor of the immoral and rebellious, sultan of the Arabs and Persians, lord of the two seas, servant of the Two Holy Shrines, master of kings and sultans, Commander of the Faithful, Abu'l-Nasr Qaytbay, may God Almighty make his reign long'! When this lamp holder hung in a mosque it is unlikely that its decoration would have been visible; still, it is indicative of the quality of the arts under Sultan Qaytbay.","short_description":"A large brass lamp holder, the sides of which are pierced to reveal the light supplied by oil lamps held in its bottom. The decoration, executed in several techniques, includes several inscriptions naming Sultan Qaytbay. The lamp holder must originally have hung in a mosque he founded or renovated.","type":"Metalwork, brass, silver","holder":"Victoria and Albert Museum.","initial_owner":"Sultan Qaytbay.","dates":"Between hegira 872–901 / AD 1468–96.","location":"London","dimensions":"Height 163 cm, diameter 74 cm.","method_for_datation":"Inscriptions on the object name Qaytbay as Sultan and imply that he is still alive ('may God extend his rule'), the lamp holder is thus dated to his regnal dates, 872–901 / 1468–96.","method_for_provenance":"Cairo was the Mamluk capital and thus the likeliest place that an object of such quality would have been made.","provenance":"Probably Cairo.","obtention":"Purchased by the Museum in 1888.","bibliography":"Mitter, P. and Clunas, C., \"The Empire of Things: The Engagement with the Orient\", *A Grand Design: The Art of the Victoria and Albert Museum* (eds. M. Baker and B. Richardson), London, 1997, pp.255-6.  \nStanley, T., with Rosser-Owen, M. and Vernoit, S., *Palace and Mosque: Islamic Art from the Middle East,* London, 2004, p.98.","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","floral decoration","inscription","Mosque interior decoration","religious object"],"materials":["brass","engraved and inlaid with silver and gold."]},"222e4544-82d3-5982-aa0b-0e4150753adf":{"name":"*Kashkul*","alternate_name":"Begging bowl","short_description":"Boat-shaped begging bowl etched with small animals amidst interlocking floral and vegetal decoration and two human motifs. Below the shoulder is a wide band of *thuluth* calligraphy. Dervishes carried these bowls in their hands or hung them over their shoulders to collect charitable donations. On occasion they shared some of the donations with others in need. *Kashkul i*s a Persian word from *kish* (to drag) and *kul*(shoulder).","type":"Bowl","holder":"Sharjah Museum of Islamic Civilization","dates":"Late 13th century AH / 19th century AD","location":"Sharjah","dimensions":"Height: 11.5cm, Length: 27cm, Width: 13.5cm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Iran","obtention":"Purchased","author":"Hazelle Page","keywords":["begging bowl","Kashkul"],"materials":["Copper/zinc alloy","etched design","Iron"]},"2381cf08-bf5c-5cdf-8287-59a5e7134b2e":{"name":"Dish with cover","description":"This is an example of a lidded copper plate, dated and bearing the name of its owner, al Sayyid-Muhammad ibn […]`Alî.","type":"Metalwork","holder":"Museum of the Arab World Institute","dates":"Between 1775 and 1776","location":"Paris","dimensions":"Height: 17cm, Dimension: 24.3cm","provenance":"Tunisia","obtention":"Purchased at 'Art Musulman' gallery in 1987.","translator":"Judy Harter","materials":["and engraved","champlevé","embossed decoration","Tinned copper"]},"2461a3b5-4ba8-5298-867c-456770c4b426":{"name":"Bowl","description":"Bowls are among the most important copper artifacts in Omani hospitality. They are usually either wholly circular or circular with a channel and include various decorative designs. They may serve to either hold the cups in which Omani coffee is served, or as basins for guests to wash their hands.","type":"Metalwork, copper","holder":"The National Museum - Sultanate of Oman","dates":"Hegira 13th–14th/AD 19th–20th century","location":"muscat, Sultanate of Oman","dimensions":"Height: 6.5cm, diameter: 13cm","provenance":"Northern Oman","copy_editor":"Alvaro Miranda","materials":["copper"]},"2462e2d8-8762-51dd-918c-0c13489c5218":{"name":"Powder box","description":"A powder box of the horn type decorated with geometric motifs and crafted in Marrakesh in the early 20th century. While maintaining an old-style form, European influences are apparent in the decoration and production technology.","type":"Fittings; metalwork; arms and armour; munitions","holder":"Dar Si Said Museum","dates":"Early 20th century","location":"Marrakesh"},"26f69a41-3873-5f60-92a8-ec686e31453e":{"name":"Lunch Box","description":"This brass box, inlaid with silver, was intended for holding food. It is rectangular with rounded ends and a coffered lid. The lid is secured by a central, frontal clasp terminating in a teardrop finial, flanked by two additional clasps on the sides and a curving handle secured by two rings on top. The body is divided into three horizontal zones. The central band bears an Arabic inscription written in bold thuluth script interrupted by four eight-petalled swirling rosettes, while the upper and lower bands are comparatively plain, containing only four rosettes and eight knotted arabesques. The inscription across the centre reads: “*umila birasm al-janab al-’ali al-maulavi al-imami al-muthaghiri al-mujahidi mawlana ‘izz al-dunya wa-al … al-din nasrallaha*”, (Made by order of his great Excellency, the lordly Imam, the defender of frontiers, the striver for the faith, our lord ‘Izz al-Dunya wa’l \\[-Din\\] … al-Din, may God grant him victory). Another box in the Museum of Islamic Art in Cairo bears a similar style of inscription, stating that it was made in Sana’a, Yemen. This attribution points to a similar place of production for the present box.","type":"Metalwork","holder":"Museum of Islamic Art","owner":"Qatar Museums","dates":"Hegira 9th century / AD 15th century","location":"Doha, Qatar","dimensions":"Height: 17.8, length: 28cm","place_of_production":"Egypt or Yemen","provenance":"Egypt or Yemen","bibliography":"Christie's London, *Islamic Art and Manuscripts*, 2000.  \nQatar Museums, et al. MIA Collection Online, 2013.","author":"Tara Desjardins","copy_editor":"Judy Harter","materials":["Hammered brass inlaid with silver"]},"272aabb1-2d59-5faa-9ce5-a28c1305a906":{"name":"Brass head of flagpole","description":"This mast, made of casted brass, bears an Arabic calligraphic decoration with the inscription \"Oh God, Oh Muhammad\". It is fixed on a pointed piece of copper with a hole at the bottom to install on a long wooden staff. In religious festivities such as pilgrimage, various activities were organized. They would normally include festivals and rallies under flags and standards. The heads of flagstaffs were decorated with metallic items usually with Arabic calligraphy and some cosmic signs such as the crescent and the star.","type":"Cultic object","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Jordan; Palestine","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"2820044b-9046-518a-901e-821f3cb8b715":{"name":"Arabian gold dagger","description":"Arabian (Omani) dagger belonging to Sheikh Abdullah bin Jassim. The dagger sheath is made of leather and embroidered with golden thread. The top and base of the sheath is decorated with a traditional flower design whilst the middle of the sheath is decorated with a leaf pattern. The dagger handle is made of rhinoceros ivory and is decorated with ten pearls. The dagger blade is steel called ‘*al-jawhar*’ which is derived from the finest Arabian Damascus plate.","type":"Weapon; arms","holder":"Weaponry Museum","dates":"19th century","location":"Doha"},"2845f62e-721b-5562-b2d1-dd922c8f21c6":{"name":"Incense burner.","description":"This unusual tripod bronze censer is apparently of cast bronze, body lid and handles being made separately. The body is cylindrical with a disc base that projects beyond the cylinder, thereby making a flange to which three legs are attached. There is another flange at the top with three ornamented projections, each pierced with a small hole. The place of the fourth projection is taken up by the hinge which holds the lid on. The dome-shaped lid, with an arcade in the drum, has three holes cut into the dome; the dome is surmounted by a knob.  \nThe handle is a tube ending with the simple shape of a lion's head, attached to the body by three rivets and placed between two of the three legs, which makes the whole piece unbalanced and prevents it from standing firm. The body and dome are delicately engraved with a formal floral design on a background of fine dots.  \nThe primary uses of incense are olfactory: to create a pleasant smell; enhance a particular mood; to rid a space of bad odours and for spiritual purposes.","short_description":"A tripod incense burner of cast bronze from the Amman Citadel. The body, lid and handle were all made separately. The dome-shaped lid is attached by a hinge and decorated with an arcade; the handle ends with a lion’s head.","type":"Incense, burner, metalwork","holder":"Jordan Archaeological Museum.","dates":"Hegira 2nd century / AD 8th century.","location":"Amman","dimensions":"Height 11.5 cm, Length 21 cm.","method_for_datation":"The object was dated by where it was found: the Citadel of Amman in an Umayyad house, room D, where Umayyad pottery vessels were also found. It is also dated by stylistic analysis of both the form and decoration.","method_for_provenance":"The provenance of this object is unknown.","provenance":"Hallado en la ciudadela de Ammán.","obtention":"The object was obtained as a result of an archaeological excavation that was carried out in the Citadel of Amman during construction of the Jordan Archaeological Museum in 1949, when a courtyard and several rooms of a large house dating to the early Umayyad period were revealed.","bibliography":"Harding, G. L., “Excavations on the Citadel, Amman”, Annual of the Department of Antiquities of Jordan, Vol. I, 1951, pp.7–16, plate II, cat. no. 4.  \n**La voie royale: 9000 ans d'art au royaume de Jordanie**, exhibition catalogue, Paris, 1986, p.276, cat. no. 371.","linkcatalogs":"IAM_JO_EN_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","keywords":["figurative designs","Incense","spirituality"],"materials":["Cast bronze."]},"28712296-3b43-5ca3-b4e9-c6cec4c1ce1a":{"name":"Revolver","alternate_name":"Yusuf Bey Karam’s revolver","description":"Yusuf Bey Karam's revolver, which he used in the resistance against the Ottomans. It is made of cast steel and fitted with a wooden grip.","type":"Military object; metalwork; firearms; arms and armour","holder":"Lebanese Heritage Museum","dates":"Early 19th century","location":"`Ayn Najm","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"287ded63-fdea-5897-9607-447ecd7b25ac":{"name":"Candlestick.","description":"The candlestick is of traditional form. It has a truncated conical base, a shoulder with a depressed inner circle and a projecting rim, and a short cylindrical neck that rises from the centre of the shoulder. However, the solid, conical candle holder decorated with an arabesque seems not to be original. Similar candlesticks show candle holders that repeat the truncated shape of the body. Around the neck is a *naskhi* inscription over scrollwork. The concave area of the shoulder bears a *kufic* inscription interrupted by four roundels with rosettes. The inscription is set against a background of scrollwork and is enclosed by a broad twinned band. The body is decorated with four poly-lobed medallions that are linked by a *kufic* inscription. Above and below this inscription band are eight small roundels showing musicians such as a drummer and lute and harp players. The whole is set against a background of a thickset double-Y pattern. The decoration of the four medallions is dedicated to the hunt. Each of the depicted mounted huntsmen is shown in a different posture. One, turned backwards, attacks a quadruped with a sword carried in his right hand. The next hunter is armed with a crossbow, and the last two are engaged in hunting with a lance. One of them lances a quadruped in front of his horse, the other lances an animal below his horse. All the scenes are set against an arabesque background. The heavily decorated surface of the body is only interrupted by three ribs which separate the main figurative panel from the enclosing narrow bands of geometric and floral patterns. Most of the silver ornamentation that was inlaid in order to contrast the inscriptions, background patterns and figurative depictions with the polished brass is now missing. The bottom of the candlestick is plain.","short_description":"Candlestick with a truncated conical base and a short cylindrical neck. The body is richly decorated with inscriptions over scrollwork, roundels and poly-lobed medallions showing musicians and hunting scenes. The inlaid silver, contrasting the ornamentation with the background, is now missing.","type":"Candlestick, metalwork","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","owner":"National Museum of Fine Arts, Stockholm. In order to reorganise the expanding collections, the main part of the Islamic collection has been on permanent loan to the Museum of Mediterranean and Near Eastern Antiquities since 1982.","dates":"Hegira late 7th century / AD late 13th century.","location":"Stockholm","dimensions":"Height 16.2 cm, diameter of bottom 19.5 cm.","method_for_datation":"The shape of the candlestick, the Y-pattern of the background and the organisation of the design are similar to a candlestick made in Cairo and dated 668 / 1270, now in the Museum of Islamic Art in Cairo.","method_for_provenance":"The shape of the candlestick, the Y-pattern of the background and the organisation of the design are similar to a candlestick made in Cairo and dated 668 / 1270, now in the Museum of Islamic Art in Cairo.","provenance":"Probably Egypt.","obtention":"Purchased from the collection of F. R. Martin in 1898.","bibliography":"Allan, J. W., *Islamic Metalwork: The Nuhad Es-Said Collection*, London, 1982, cat. no 13.  \nAllan, J. W., *Metalwork of the Islamic World: The Aron Collection*, London, 1986.  \nAtil, E., *Renaissance of Islam: Art of the Mamluks*, Washington, 1981.  \nBaer, E., *Metalwork in Medieval Islamic Art*, New York, 1983.  \nMelikian-Chirvani, A. S., “Deux Chandeliers Mossouliens”, *Bulletin des Musées et Monuments Lyonnais* 3, 1970, pp.45–63.","linkcatalogs":"IAM_EG_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["calligraphy","Candlestick","figurative decoration","light"],"materials":["brass","engraved","inlaid.","Silver"]},"28b65594-f59a-5cbc-b478-dca6e9f72a2e":{"name":"Inkwell and pencase","short_description":"Inkwell, lavishly decorated with arabesques and inscriptions consisting of Persian and Arab verses in *nasta\\`liq* script. On the bottom part is the signature of the craftsman, Mirak Hussein Yazdi. The Arab verses invoke \\`Ali, the Prophet’s son-in-law, and attest to the Shiite environment in which the object was produced. It is one of the best-known signed works of Persian metalwork of the time of Shah Ismail (1501-1524).","type":"Inkwell and pencase, metalwork","holder":"Benaki Museum","dates":"Hegira 10th century / AD 16th century","location":"Athens","dimensions":"30 cm","provenance":"Iran","keywords":["Inkwell and pencase","metalwork","Nasta`liq"],"materials":["Brass inlaid with silver"]},"29250b60-4c9c-50a3-bc9b-e58f9d8cc798":{"name":"Ewer with a cock-shaped spout","short_description":"A ewer almost identical to this one was unearthed near the site where the last Umayyad caliph, Marwan II, was assassinated at Abu Sir in Egypt. This example’s pierced decorations follow Byzantine prototypes, and its spout, in the shape of a three‑dimensional crowing cock with ruffled wings, is rendered with great realism. Ewers of this type may have been produced in Syria for Umayyad and early Abbasid caliphs.","type":"Metalwork","holder":"The Metropolitan Museum of Art","dates":"Hegira late 1st–early 3rd century / AD 8th–early 9th century","location":"New York","dimensions":"H: 39.4cm, W: 24.1cm, Diameter: 19.4cm","provenance":"Syria","obtention":"Samuel D. Lee Fund, 1941  \nVendor: Brummer Gallery, New York  \nFormer owner: Bobrinsky Collection, Russia  \nFormer owner: Henry Harris, London (by 1931–38; to Brummer)  \nFormer owner \\[dealer\\]: \\[Brummer Gallery, New York, 1938–41; sold to MMA\\]","bibliography":"Ackerman, Phyllis, *Guide to the Exhibition of Persian Art. 2nd. ed. The Iranian Institute, New York*, New York: The Iranian Institute, 1940: 360, no. Gallery XI, case 63.  \nBaer, Eva, *Metalwork in Medieval Islamic Art*, Albany, NY: State University of New York Press, 1983: 86–87, ill. fig. 66 (b/w).  \nBarnet, Peter, and Dandridge, Pete (ed), *Lions, Dragons & Other Beasts. Aquamanilia of the Middle Ages: Vessels for Church and Table*, New Haven: Yale University Press, 2006: 181, no. 37, ill. (colour).  \nBrend, Barbara, *Islamic Art*, Cambridge: MA, 1991: 43, ill. fig. 23.  \nDimand, Maurice S., *A Handbook of Muhammadan Art. 2nd rev. and enl. ed.*, New York: The Metropolitan Museum of Art, 1944: 134, ill. fig. 75 (b/w).  \nEkhtiar, Maryam, Canby, Sheila R., Haidar, Navina and Soucek, Priscilla P. (eds), *Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art. 1st ed.*, New York: The Metropolitan Museum of Art, 2011: 21, no. 7, ill. 31 (colour).  \nEttinghausen, Richard, et al. (eds), *Ars Islamica part 2, vol. VII*, University of Michigan, 1940: ill. figs. 18 / 20 (b/w).  \nHarper, Prudence Oliver, *The Royal Hunter: Art of the Sasanian Empire*, New York, Asia Society, 1978: 107, no. 40.  \nO'Kane, Bernard, *The Treasures of Islamic Art in the Museums of Cairo*, Cairo: New York: American University in Cairo Press, 2006: 21, no. 11.  \nWilson, Arnold T. (ed), *Catalogue of the International Exhibition of Persian Art. 3rd. ed. 7th January to 28th February, 1931*, London: Royal Academy of Arts, 1931: 40, no. 77A.","copyright":"The Metropolitan Museum of Art, Samuel D. Lee Fund, 1941","keywords":["animal decoration","bronze","Byzantine influences","cast","copper alloy","court life","ewer","metalwork","Syria","Umayyad","zoomorphic imagery"],"materials":["Bronze","cast and pierced"]},"294b1fcb-2b62-538b-b1fd-0115e717cdeb":{"name":"Bowl","short_description":"This brass bowl displays dense knotted designs and intricate foliage scrolls, a style that may be seen as a derivation of Venetian metalwork popular during the same era. The body of this basin is decorated with a series of cartouches containing Arabic calligraphy and blazons. Mamluk inscriptions were often dedicated to their sultan, but this inscription is innovative. The inscription around the body reads “One of what was made for the Most Noble Authority, the Honorable, the Exalted, the Lord, the Great Amir, the Well-Served, the Revered, the Treasure, the Gallant, the Orderly, the Lion, al-Sayfi Yashbak al-Zahiri.”","type":"Metalwork","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 900 / c. AD 1500","location":"Kuala Lumpur","dimensions":"Diameter: 31.2 cm","provenance":"Egypt","obtention":"Egypt Private Collection, London, since 1970s","bibliography":"Heba Nayel Barakat, *Introduction to Islamic Arts - Calligraphy from the Collection of Islamic Arts Museum Malaysia*, Kuala Lumpur: IAMM Publications, 2008: 74-75.","materials":["Hammered and engraved copper alloy"]},"298f1be0-1a70-55ec-8567-86eda6c195f5":{"name":"Revolver","alternate_name":"Bull Dog","description":"This solid-frame, short-barrel pocket revolver was manufactured in Britain. This type of revolver became very popular and had been copied by many gun makers in different countries such as Belgium, Spain, and France among others. The American President James Garfield in 1881 was assassinated by one of these revolvers, probably an American copy of the British Bull Dog. This revolver is fitted with wooden grip plates. The cylinder is smooth and no serial number can be seen on it. The only engravement is what can be read as British Bull Dog at the top of the barrel. The base of the barrel was broken and mended.","type":"Handgun; arms; firearms","holder":"Jordan Folklore Museum, Department of Antiquities","dates":"Late 19th century – early 20 century","location":"Amman","provenance":"United Kingdom","author":"Mohammad Najjar","copy_editor":"Daniel de la Vega"},"2a226eef-1a17-51ae-9e21-911b78e227e7":{"name":"The Builders","alternate_name":"*I costruttori*","description":"Arturo Dazzi was the son of the owner of a marble quarry and remained attracted to this raw material throughout his life. He attended the Academy of Fine Arts in Carrara and then won two national contests. The group of *The Builders*, as stated by the artist, was made for his final examination during the four years he spent at the Pensionato Nazionale di Scultura between 1904 to 1907. For this reason, the sculpture is very complicated and needed a lot of study and work in order to be completed. Nonetheless it gave great satisfaction to the artist: exhibited in 1907 in Italy and in 1909 in Munich the group was awarded both times with gold medals. The work shows an idealized version of the social “verism”, or truth, a concept common among young Italian sculptors of the time, and shows the influence of the painting of Constantin Meunier, *Enlèvement d’un creuset brisé*, done in 1884.","type":"Sculpture","holder":"National Gallery of Modern Art (GNAM)","dates":"1907","location":"Rome","provenance":"Italy","copyright":"Copyright image: Soprintendenza alla Galleria Nazionale d'Arte Moderna e Contemporanea.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"2b2f8bbd-a9f5-5da8-a561-886281458b0f":{"name":"Jewellery case","description":"The influence (on decoration, in fabrication techniques or in the typology) of the Islamic artworks from the Middle Ages or Modern period can be seen in this piece.","type":"Metalwork","holder":"National Museum of Romanticism","dates":"Mid 19th century","location":"Madrid","author":"Laura González Vidales","copy_editor":"Anne Dowell"},"2b8bffd7-5ba3-5029-b6c5-d671a0482187":{"name":"High altar for San Pietro Cathedral of Bologna","description":"This complex and precious altar was donated by Pope Lambertini to the San Pietro Cathedral of Bologna. Originally it was composed of six candlesticks, a silver cross and a silver frontal depicting *Jesus Handing the Keys to St. Peter in the Presence of the Apostles*. Unfortunately, these rich objects were probably handed to the Frenchmen in 1796, after the treaty of Tolentino, signed by Pope Pius VII.  \nThe invoices for the high altar are registered in the *Diario Benedettino*. The pope prayed that it reached Bologna safe and sound.  \nIn the middle of the side there is a silver embossed oval representing *Christ Rescuing Peter from the Water*, on the sides are two smaller roundels representing allegories of *Faith*. The three bas-reliefs are framed in gilded cast bronze, with cherubs' heads and garlands against a blue lapis-lazuli background. In the corners the oval bas-reliefs represent the *Martyrdom of St. Peter* on the left and *St. Peter in Jail Visited by the Angel*. On the upper side hangs the coat of arms of the Lambertini family in silver.  \nThe whole altar is on show together with a sumptuous frontal donated by the pope in 1742, made of  \nhemp canvas embroidered with gold thread. Against the embroidered gold background are several sewn gold leaf decorations. In the middle is a roundel of *St. Peter* half bust and on the sides the coat of arms of the Lambertinis' with the tiara and the papal keys held by angels.  \nThis extremely precious altar, only a part of the richer original complex, is characterised by its technical skill and high artistic quality. The Roman silversmith Angelo Spinazzi, documented from 1721 to 1767, probably made the step. On the sides a hallmark, despite being not entirely legible is believed to be that of the Roman craftsman Filippo Tofani. No hallmark is visible on the main central relief.","short_description":"This extremely precious altar was donated to the cathedral of Bologna by Pope Benedict XIV.  \nThe sides and corners are characterised by extremely detailed work: against a blue lapis-lazuli ground are intertwined coats of arms of the Lambertini family and oval bas-reliefs with figures in chiselled and embossed silver and gilded bronze. On the side, in the middle, *Christ Rescues Peter from the Water* flanked by two Allegories of Faith, on the corners *St. Peter in Prison Visited by the Angel* and the *Martyrdom of St. Peter*. The work was made in Roman workshops. The altar is completed by a beautifully worked frontal, also a gift from Pope Benedict XIV (1742).","type":"Metalwork","holder":"San Pietro Cathedral of Bologna","initial_owner":"San Pietro Cathedral of Bologna","dates":"1753- post 1756","location":"Bologna, Emilia-Romagna","dimensions":"Side max. 57x380x27 cm; medallions left and right 34x25 cm, central 35x55 cm; sides 105x78 cm, 5x63 cm; capitals height 57 cm; roundels, right 30x21 cm, left 28x21 cm; frontal 104,5x355 cm","place_of_production":"Rome","method_for_datation":"This altar was sent to Bologna and began in 1753. Work continued to 1756 although the whole complex was not yet complete.  \nSpinacci, quoted many times as the author of the step, might be Angelo Spinazzi, a Roman silversmith working between 1721 and 1767.  \nOn the reliefs on the corners it is possible to see two hallmarks: 1) *the cipher 85 in a circle*, 2) *FT with a small cross under inside an irregular frame*. The first is used by several testers and affirms the high quality silver, following 1734 prescriptions. The second hallmark refers to the silversmith Tofani, even if this work is not cited by Bulgari in his monograph and if we don't know for sure the hallmark of this master.","provenance":"Gift of Pope Benedict XIV Lambertini","obtention":"Donated by Pope Benedict XIV Lambertini.","bibliography":"Bulgari, C. G. *Argentieri gemmari e orafi d'Italia,* Rome, 1974.  \n*L'Arte del Settecento emiliano. L'arredo sacro e profano a Bologna e nelle Legazioni Pontificie, (*exhibition catalogue) (ed. J. Bentini), Bologna, 1979.  \n*Il tesoro di San Pietro in Bologna e Papa Lambertini* (exhibition catalogue) (ed. F. Varignana), Milan, 1997, pp. 192-193, figg. 40-41.  \nVarignana, F. *Guida al tesoro della cattedrale di San Pietro in Bologna*, Bologna, 2000, pp. 81-82, figg. 96-97.","workshop":"Late baroque","copyright":"Copyright image: Ufficio Beni culturali ecclesiastici della diocesi di Bologna.","author":"Federica Trombacco","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Allegory","bas-relief","Benedict XIV","Cathedral of Bologna","liturgical","liturgy","metalwork","Roman silversmiths","St. Peter"],"materials":["brass frame.","bronze cast","chiselled","chiselled and gilt","embossed","hemp canvas embroidered with gold thread","lapis-lazuli","Silver cast","wood frame"]},"2c1e6a09-4e26-51fb-a7ae-7206e8f1288d":{"name":"Tray (*sinija*)","description":"The term *sinija* (Tr. *sini*) relates to a large round brass or copper tray that functioned as a low table on which food was served.  \nThis artefact is a large, circular brass tray with stepped flat rim. The central medallion is decorated with incised geometric arabesque filled with intricate scroll ornamentation. It is further encircled by several narrow and broader bands decorated in the same manner of combining different geometric shapes with vine and scroll patterns.","type":"Tableware","holder":"Museum of Applied Art","dates":"Hegira 13th century / AD 19th century","location":"Belgrade","dimensions":"Diameter: 825mm, weight: 4250g","place_of_production":"Persia","method_for_datation":"By stylistic and comparative analysis with related material.","obtention":"Purchased in 1951.","bibliography":"Karamehmedović, M. A., *Umjetnička obrada metala*, Sarajevo: Veselin Masleša, 1980: 186–187.","author":"Mila Gajić","keywords":["brass","Persia","sinija","Tableware","Tray"],"materials":["brass","Engraving","hammering"]},"2d3a2d5f-2147-5973-9e7b-471024c8bca0":{"name":"Teapot","description":"Teapot decorated with silver, copper and ebony attached to the body by a piece of notched and perforated copper. Spout, mouth and lid are separated from the body by pieces of copper and ebony.","type":"Metalwork","holder":"Institute of the Arab World","dates":"AH 14th / AD 20th century","location":"Paris","dimensions":"Height: 17.5cm, Diameter: 8.8cm, length: 20.5cm, Opening diameter: 5cm","provenance":"Mauritania","obtention":"Purchased in a gallery, Paris.","translator":"Judy Harter","keywords":["silver","tea","water"],"materials":["copper and ebony decoration","Pewter teapot with silver"]},"2e0325e3-f0c3-5663-9c9a-fc45b12f52db":{"name":"Pair of metal candlesticks.","description":"A pair of identical cast iron candlesticks in the Gothic style, each of which assumes the shape of an axial tree form, similar to the shape of a pomegranate tree. The candlestick is supported on three legs, composed of two pieces cleaving to the iron, held and brought together by iron rings. The legs bend gradually to delimit the form of the relatively long shaft of the candlestick. At the juncture where the three legs join, there are three quite long stems mimicking additional shoots of a tree. Each shoot carries a small candleholder. The principle stalk continues to climb, branching out at the top into three levels of leafy branches. Each level consists of three branches bearing blossoms resembling pomegranate flowers. The branches become smaller as the candlestick climbs in height, thus forming a versatile composition that imitates the natural form of a tree. The top of the candlestick forms a large candleholder that is bigger than the holders below. Suspended from the apex of the candlestick are three glass oil containers that were used as lamps.","short_description":"A pair of identical iron Gothic-style candlesticks from the Dome of the Rock. Each is in a tree shape similar to a pomegranate tree, with three legs forming the tree shaft. There are a number of holders on each candlestick for candles and three oil lamps. The candlesticks are a product of the Crusader period.","type":"Candlestick, metalwork","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Dome of the Rock, Jerusalem.","dates":"Hegira 6th century / AD 12th century.","location":"Jerusalem","dimensions":"Height 267 cm.","method_for_datation":"The candlesticks are dated by comparison of technique and decoration with other pieces, in particular those objects that date to the same period, specifically the iron grille that was produced to protect the rock at the Dome of the Rock.","method_for_provenance":"Jerusalem was narrowed down as the place of production for these candlesticks because they closely resemble the metal grille, also from the Dome of the Rock and probably made in Jerusalem. Both are, therefore, not only assigned to Jerusalem on the basis of the belief that they were both produced for the Dome of the Rock, but are also considered to have been produced by the same craftsman.","provenance":"Possibly Jerusalem.","obtention":"The two candlesticks were transferred from the Dome of the Rock in around 1960.","bibliography":"Hunt, L. A., “Crusader Sculpture and the so-called Templar Workshop: A Reassessment of Two Carved Panels from the Dome of the Rock in Al-Haram al-Sharif Museum in Jerusalem”, in *Palestine Exploration Quarterly*, No. 132, 2000.  \nJacoby, Z., “The Workshop of the Temple Area in Jerusalem in the Twelfth Century: Its Origin, Evolution, and Impact”, *Zeitschrift für Kunstgeschichte*,No. 45, 1982.  \nJacoby, Z., “The Provencial Impact on Crusader Sculpture in Jerusalem: More Evidence on the Temple Area Atelier”, in *Zeitschrift für Kunstgeschichte*, No. 48, 1985.","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Candlestick","Crusader","Gothic","ironwork","metalwork","vegetal decoration."],"materials":["cast iron","put together with iron rings."]},"2e9bb9ef-0628-53b2-88c7-0bb1e2984d88":{"name":"Mint-mould for six coins","description":"A bronze mint-mould holding six coins, in use at the mint in Fez during the reign of Sultan Mulay al-Hasan I (r. 1873-94). It should be noted that, compared to earlier periods, coinage was evolving quickly in relation to industry at this time.","type":"Mint-mould","holder":"Batha Museum","dates":"1872","location":"Fez"},"2fe554a9-e532-5b15-814f-963ca40c1b1c":{"name":"Small water-basin.","description":"On the broad border of this wide basin there are depicted, between four round medallions, scenes of courtly pleasure hunts. Three riders are shown in every scene, undertaking various hunting practices. The hunters are fighting in tournament, armed with lances, swords, bows and arrows. One rider is accompanied by a hunting cheetah on a horse. These illustrations represent a view of an idealised life. Images of riders and hunters refer not only to the riding abilities of the princes, but also to the courage, strength and perseverance of the rulers. Depictions of hunters with falcons and leopards could be referring to the immense wealth of the rulers. Only rulers such as these could afford to keep and train such expensive hunting animals, only they could hold such lavish hunting parties. This princely lifestyle reached its height during the Mamluk period. The underside of the basin is decorated with plaited bands, and arabesques, vines and birds fill the spaces in between. The decoration is finished in gold and silver inlay. The precious metal decoration gives the brass receptacle a multicoloured appearance and rich tone.  \nThe coat of arms of Amir Sumul Abu’l-‘Izz, who belonged to the retinue of the ruling Sultan al-Nasir Muhammad bin Qalawun, is set at the centre of each of the round medallions. It can be only guessed that Abu’l-‘Izz commissioned the basin on the basis of a fragment of inscription. Abu’l-‘Izz and his brother Salar, viceroy of Egypt, rebelled against the Sultan and were captured and imprisoned in 1310. At the bottom of the basin, two well-wishing inscriptions are addressed to the person who commissioned it, whose identity remains unclear. Sumul Abu’l-‘Izz’s name could have been inscribed here. If it had, the basin would have been dateable to between AH 693 and 710 / AD 1293 and 1310.","short_description":"The design of this brass water-basin with gold and silver inlays shows a frieze with riders hunting or at a tournament. They are separated by four medallions holding a coat of arms typical of the Mamluk nobility. The basin was commissioned for a Mamluk *amir*.","type":"Basin, metalwork","holder":"Museum of Islamic Art at the Pergamon Museum","initial_owner":"Sumul Abu’l-‘Izz.","dates":"Around hegira 700 / AD 1300.","location":"Berlin","dimensions":"Height 10 cm, diameter 21 cm.","method_for_datation":"The coat of arms suggest that the basin belonged to the patron Sumul Abu’l-'Izz. He was in the service of the Mamluk Sultan al-Nasir Muhammad bin Qalawun from 693 to 710 (1293–1310).","method_for_provenance":"The Mamluk coat of arms, which establishes the identity of the basin’s patron, points towards Egypt as the country of origin.","provenance":"Cairo, Egypt.","obtention":"As a donation from the Berlin collector Friedrich Sarre, who bought it in 1897.","bibliography":"Hagedorn, A., *Die Blacas-Kanne: Zu Ikonographie und Bedeutung Islamischer Mettallarbeiten des Vorderen Orients im 13. und 14. Jahrhundert*, Münster, 1992, pp.127–33, 152–3, no. 162.  \nMayer, L. A., “Three Heraldic Bronzes from Palermo”, *Ars Islamica* 3, 1936, pp.184–6.  \n*Museum für Islamische Kunst*, Catalogue, Mainz, 2001, p.76.  \nSarre, F., *Erzeugnisse Islamischer Kunst*, Part 1, *Metall*, Berlin, 1906, no.64.  \nWard. R., *Islamic Metalwork*, London, 1993, 71–93.","linkcatalogs":"IAM_EG_EN_001","author":"Annette Hagedorn","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["amir","Basin","brass","inlay","Mamluk"],"materials":["brass","silver and gold inlay."]},"300484a2-8462-54ff-b03c-372d5c61c717":{"name":"Covered Bowl","short_description":"A covered circular bowl with rounded bottom and the cover almost flat. The surface of the bowl has a broad band of medallions and panels encircling the sides. The medallions are composed of lines and interlacing arabesques in relief lines overlaid with silver. The panels are defined by similarly overlaid silver lines, three alternate, one containing an inscription. On the bottom of the bowl is a six-pointed star in the center of a design of connected medallions in raised silver lines. The entire surface between the medallions and panels is covered with a varying design of vines in relief, which was achieved by chiselling away the ground. On the edge of the bowl is a narrow border of a continuous pattern of zig-zags; another narrow border below the rim is a running vine; having inscriptions alternating with three plain panels, surrounding a complicated star design in silver lines. The whole surface between the lines of the patterns is covered with fine vine patterns. The inscription said to read, - Aamel el Mouallim Madmoud al Kurdi ben Havat, elmaghferti Mevla, is interpreted, \"the work of the master Mahmud al-Kurdi, son of Havat, may God forgive his sins.\"","type":"Metalwork","holder":"Saint Louis Art Museum","dates":"Hegira Last half 9th century / AD second half 15th century","location":"Saint Louis","dimensions":"Height: 8.9cm; Diameter of cover: 16.5cm; Diameter of mouth: 16.5cm","method_for_datation":"Per inscription (see description)","method_for_provenance":"Per inscription (see description)","provenance":"Northwest Iran or southeast Anatolia (Turkey), Asia","obtention":"Museum Purchase, 1925","bibliography":"Al Khemir, Sabiha, *Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture*, Provo, Utah: Brigham Young University Museum of Art, 2012.","keywords":["Alloy","Anatolia","Asia","bowl","Copper","Covered","inlay","Iran","Mahmud al-Kurdi","metalwork","Northwest","Persian","silver","Southeast","Turkey"],"materials":["Copper alloy with silver inlay"]},"301e4bad-ae28-55b7-8175-5f828d2c5939":{"name":"Candlesnuffer.","description":"A candlesnuffer that resembles a pair of scissors, made from gilded iron and with decorative painting. Although the form resembles an ordinary pair of scissors one of its arms contains a small chamber (a rectangular box section) to extinguish lamps and candles. The second arm (which has a flat edge), when closed, enters inside the chamber and snuffs out the lamp or candle. The arm with the chamber extends into a tapered shape not unlike an ordinary pair of scissors, while the flat-edged arm is shorter, cut-off at the level of the chamber. The piece is completely gilded and is decorated with a multiplicity of forms the most prominent being located on the two sides of the chamber. Each of the long sides of the chamber is decorated with two confronting birds, possibly pigeons, and they appear to hold a leaf in their beaks. On each of the two small sides of the chamber are lions. Some of the decoration and gilding has worn off as a result long-term use.  \nThis snuffer has been used to extinguish not hundreds, but thousands of candles and lamps which would have illuminated al-Aqsa Mosque, Dome of the Rock, the plazas and other buildings within the Haram al-Sharif in Jerusalem.","short_description":"The Aqsa Mosque and the Dome of the Rock were lit by thousands of candles and lamps which required implements for lighting and extinguishing. This candlesnuffer takes the form of elegant scissors made from gilded iron. It is decorated with zoomorphic and vegetal forms, minutely portrayed to fit the small scissors.","type":"Metalwork, iron steel","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","dates":"Hegira 13th century / AD 19th century.","location":"Jerusalem","dimensions":"Length 18.5 cm, width 5.5 cm.","method_for_datation":"The snuffer was dated by comparing it with the design and techniques of manufacture of other pieces whose dates have been tentatively pin-pointed.","method_for_provenance":"It is possible that the snuffer was produced in Istanbul since there are similar pieces known to have been produced there, but there is no firm evidence to confirm this.","provenance":"Possibly Istanbul.","obtention":"The piece was transferred from al-Aqsa Mosque to the Islamic Museum but it is not known when.","linkcatalogs":"IAM_TR_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["candle-snuffer","Candles","gilding","iron","Scissors"],"materials":["Gilded iron with decorative painting."]},"308e03ea-6946-5a0c-a2aa-392943b0f903":{"name":"Small gazelle in bronze.","description":"This bronze object is composed of three superimposed elements: a small gazelle joined to a rectangular pedestal on top of a ball with a shaft, above a small sphere surrounded by a four-petal corolla. Rivets fix all these elements to the shaft, which holds the different components and serves as an axis. The gazelle, the support, the ball and the shaft are solid cast. The animal has an arched neck and a thin layer of gold covers its body. The tops of its legs are decorated with geometrical knotwork and a woven design on their inner side whereas the inside of the neck is decorated with dots. The small rounded tail is stamped with a cruciform pattern. The gazelle's elegance and its decoration are reminiscent of Umayyad bronzes from Córdoba.  \nThe hollow sphere is not decorated and it is formed by two welded elements. The corolla is made out of flat strips cut into four wide lanceolate petals, gilded with serrated edges. The outside of the strips are decorated with a floral pattern with smooth palms and Marinid-style foliage.  \nThe two parts of this small bronze do not appear to belong to the same period. In all probability the upper part, gazelle and shaft, was made in Córdoba during the Caliphate period. The sphere and the four-petalled corolla would have been added in the Marinid period, possibly to use it at the top of an aquamanile.","short_description":"This elegant object, representing a small gazelle on top of a sphere surrounded by a corolla of petals, would have been placed on top of an aquamanile. Its two halves come from difference periods: the Caliphate of Córdoba and the Marinid era.","type":"Gazelle, metalwork","holder":"Archeological Museum.","dates":"Hegira late 4th and 8th centuries / AD late 10th and 14th centuries.","location":"Rabat.","dimensions":"Total height 13 cm, diameter 5 cm.","method_for_datation":"Through stylistic analysis and comparison with Umayyad and Marinid pieces.","method_for_provenance":"Excavation report (Boube 1972).","provenance":"Dual provenance: the upper part was from Córdoba and the lower part was made in Morocco.","obtention":"Excavated.","bibliography":"Hassar-Benslimane, J., 'Note à propos d'un bronze arabe trouvé au Chellah (Rabat)', *Bulletin d'archéologie marocaine*, Vol. X, 1976, pp.173–84.","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["Figurative representation","geometric decoration"],"materials":["Solid cast bronze."]},"315346db-710f-5c89-a554-c7db806dc960":{"name":"Ram mould.","description":"A ram-shaped mould made from two equal parts to form the body, and another small piece that forms the head. There are four hinged joints: one on its back, one on the top of its head and two at its feet. The horns of the ram are clearly visible behind the ears.  \nThe object seems to have functioned as a special kind of mould used for shaping bread or cake for children. Another mould in the shape of an elephant was found along with this one.  \nThe ram has particular significance for Muslims. It is mentioned several times in the Qur'an in for instance, *sura* 'Al Saffat' (chapter 37, verses 102–7), where the story of Abraham's sacrifice of his son Isaac is related and how ultimately Abraham sacrificed a ram in place of his son. Within the Muslim festival calendar is that of Eid Al-Adh'ha (Greater Bairam) when a ram is sacrificed, along with other animals such as a camel, a cow or a lamb.  \nRams are also a feature of the mosaic floors found in Jordanian Byzantine-period churches. The ram is also evident on the mosaic floor of the Umayyad palace, Qasr Hallabat. A number of Islamic-period metalwork pieces are made in the form of animals.","short_description":"A cast iron mould shaped in the form of a ram from the Umayyad palace of al-Fudayn. It was found along with another mould in the shape of an elephant and they were probably meant to produce bread or cakes for children. Metalwork representing animals is common in early Islamic art.","type":"Mould, metalwork","holder":"Jordan Archaeological Museum.","dates":"Hegira 2nd century / AD 8th century.","location":"Amman","dimensions":"Height 17 cm, width: 16.5 cm, depth 6 cm.","method_for_datation":"The object was dated by its location in the archaeological strata and also in association with pottery located close to it which was characteristically Umayyad.","method_for_provenance":"The provenance is unknown, but the mould was probably produced in Syria.","provenance":"Hallado en al-Fudayn.","obtention":"The mould was obtained as a result of an excavation which was carried out in al-Fudayn, a site located 70 km northeast of Amman, where an Umayyad palace and a mosque were discovered.","bibliography":"Humbert, J. B., \"El-Fedei-Mafraq”, in *Contribution française à l'archéologie française jordanienne*, Amman, 1989, pp.125–31.","linkcatalogs":"IAM_JO_EN_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","keywords":["Abraham","metal","mould","Ransom Story"],"materials":["Cast iron."]},"3255acd8-3f03-5620-862b-0ace923601ea":{"name":"Incense burner","short_description":"The incense burner is composed of three feline bodies, probably lions, made in a style common in the Seljuk age: the heads are roundish, the ears are triangular and pointed, the mouth is semi-open and the eyes are pierced. The three bodies are connected by an element with a cavity in the centre.  Holes are visible in the back of the felines, precisely on the three heads and clustered at the lower part of the neck. The openwork detail on the lower part of the object does not adhere to a particular patterned style, for example geometric or vegetable as in other contemporary items, but is arranged within square and rectangular frames. The precise and grouped holes were functional to the object to let out smoke. Cat-shaped incense burners are part of a typology characteristic of Iranian metal production at the time of the Seljuk dynasty. Most of the time, however, the object depicts one single animal. The articulation of three feline bodies in the object here is not entirely unique, as other documented examples feature a cavity at the centre of the element connecting the bodies, which acommodates incense or essences to be burned (see Musée du Louvre, MAO 357). Sometimes, however, in this central area, perforated circular elements are inserted and topped by a bird figure (see The Israel Museum, 64.9.3692). Lions, lynxes and cheetahs are also frequent motifs in Islamic art, as they are characteristic of royalty iconography or court environments as they symbolise strength, courage and power. The craftsmanship quality of the piece and the high value of incense as a commercial good during the Middle Ages indicate that it was intended for a wealthy family.","type":"Incense burner","holder":"Museum of Civilisations/ Museum of Oriental Art","dates":"Hegira 5th-6th century / AD 11th- 12th century","location":"Rome","dimensions":"Height: 17.5cm, Width: 15cm","method_for_datation":"Stylistic-formal analysis","provenance":"Khorasan, Iran/Afghanistan","obtention":"Acquisition from the antique market","bibliography":"Baer, E., *Metalwork in Medieval Islamic Art*, Albany, NY: State University of New York Press, 1983.  \nCanby S. R., \"The Scented World: Incense Burners and Perfume Containers from Spain to Central Asia\", *Arts of Asia*, 42 n. 5 (2012).  \nTorre, P., \"Containers for perfumes and aromas of the Islamic East\", in Paola D'Amore and Serafina Pennestri (eds), *Aromatica. Essenze, profumi e spezie tra Oriente e Occidente*, Rome: Elio de Rosa, 2003. 82-86.  \nDi Flumeri Vatielli , G., \"Metalli\" in P. Torre, G. Di Flumeri Vatielli and M. Jung (eds), *Arte dell'Islam, catalogue Museo Nazionale d'Arte Orientale*, Rome: Artemide, 2010: 35-48, fig. 40.  \nScerrato U., *Metalli islamici*, Milan: Fabbri, 1966.","author":"Francesca M. Anzelmo","copy_editor":"Liz Cooper","materials":["Bronze","carving and fretwork decoration"]},"33fcf5d8-adfd-5c10-84bb-8756c9079c6e":{"name":"Coffee set","description":"Set contains tray and six porcelain inner cups with copper handles and saucers.","type":"Metalwork","holder":"National Museum in Kraków","initial_owner":"Muzeum Techniczno-Przemysłowe w Krakowie / Industrial Museum in Kraków","dates":"13th century Hegira / 19th century AD","location":"Kraków","dimensions":"Tray diameter: 34cm","method_for_datation":"Dating and origin based on stylistic grounds and similar pieces from other collections.","method_for_provenance":"Material and technique are characteristic for Turkish metalwork production in this period","provenance":"Turkey","obtention":"Gifted to the Industrial Museum in Kraków by Zdzisław Hordyński in 1920; collection taken over by NMK in 1950.","author":"Monika Paś","keywords":["coffee","Islam"],"materials":["engraved copper","forged","Porcelain","traces of silver plating"]},"34093957-9215-5f74-8896-55c092200e01":{"name":"Artillery piece – Half-cannon – Muzzleloader","alternate_name":"Canhão de Bocarro – Bocarro cannon","description":"Although the military armaments industry of India and China flourished more than it did in Europe in the early 15th century, developments in Europe took advantage later in the century – the Portuguese learning armament techniques. During the 16th and 17th centuries with their arrival in China, the Portuguese were able to profit from their ability to help the warring factions in the Chinese Empire. In Japan, the Shogun authorities learned about guns from the Portuguese in the 16th century.  \nThis half-canon dates to the 17th-century. Cast in bronze, it has a caliber of 13.8 cm and a length of 3.62 m; it weighs over 3026 kg. It uses iron canon balls of 8.2 kg.  \nThe object displays the coat of arms of the city of Macao in China, below which is a rampant lion with a Marquis' crown. Engraved in a frame is the following inscription: “ANT. TELES DE MENEZES Govºr DA INDIA A MANDOU FAZER NO ANO DE 1640” (“ANTONIO TELES DE MENEZES GOVERNOR OF INDIA ORDERED IT TO BE MADE IN 1640”).  \nHolding in its breech the name of the Caster “M\\[anu\\]el TAVARES BOCARRO”, as a personal touch, the cascable ending is in the shape of a lotus flower. Manuel Tavares Bocarro, son of Pedro Dias Bocarro also a gun founder, was the leading officer of the gun foundry of cannons in the Chunambeiro, Macao, during the mid-17th century. The cannons he produced were famous worldwide; two of them are in the Tower of London.","short_description":"A bronze half-cannon muzzleloader from the first half of the 17th century, used to attack and defend fortresses.","type":"Artillery","holder":"Army Museum","owner":"Museu Militar","initial_owner":"Portuguese State","dates":"Fist Half of the 17th Century","location":"Lisbon, Lisbon","dimensions":"Total length (from the outside) 3.62 m","place_of_production":"Forged in Macao","method_for_datation":"The piece exhibits the coat of arms of the city of Macao and holds an inscription engraved in a frame “ANT. TELES DE MENEZES Govºr DA INDIA A MANDOU FAZER NO ANO DE 1640” (“ANTONIO TELES DE MENEZES GOVERNOR OF INDIA ORDERED IT TO BE MADE IN 1640”).","provenance":"Mozambique, 1866","obtention":"Recovered in Mozambique in 1866","bibliography":"*Guia da Artilharia Histórica,* Lisbon, 1979.  \nSantos, N. V., “Manuel Bocarro o grande fundidor”, *Boletim do Museu e centro de estudos marítimos de Macau*, Macau, 1990, No.3, pp. 15–102.","author":"Museu Militar","translator":"Conceição Marques","translation_copy_editor":"Mandi Gomez","keywords":["armours","arms","Bocarro","bronze","firearm","Half-cannon","military object","weapon"],"materials":["Cast bronze"]},"343b5161-2634-5e60-ba87-3693490baf83":{"name":"Electric telegraph machine","description":"An electric telegraph machine designed by Samuel Morse, comprises a receiver, a key or lever spring and a speaker on which the following is written: “Speaker with Removable Shade Son, Market September 1, 1924, G. Minssart builder Paris”.","type":"Telegraph machine","holder":"Itisalat al-Maghrib Museum","dates":"1907","location":"Rabat","provenance":"Paris"},"3440c04d-68d2-580e-aa99-011805aecccb":{"name":"*Dallah* (Coffee pot), *Mezallah*; serving stage smallest pot","description":"This copper *dallah* goes back to a type allegedly first used in 17th-century Baghdad, and by the 19th century, there were several production centres in the Arabian peninsula. Its design cleverly reflects its functional needs. The broad base ensures stability on the fire or in the sand, whilst the large spout prevents too much coffee sediment from reaching the cup. The lid is purposely weighted to avoid it opening during the pouring process. Throughout the Near and Middle East coffee lay at the heart of social rituals and hospitality, while providing sustenance during chats, debate and political discourse in the many coffee houses in the region. In this light, the quality of the coffee served was an important indicator of both the wealth of the host and status of the guest. In continental Europe, the fashion for coffee was at its height in the 17th and 18th centuries, with coffee houses the preferred meeting places for intellectuals and artists. In Britain, meanwhile, tea soon overtook coffee in popularity, even though certain religious organisations tried to promote coffee houses for the poor in order to steer them away from public houses that primarily sold alcohol.","type":"Coffee pot; *Mezallah*","holder":"Sharjah Heritage Museum","owner":"Sharjah Museums Authority","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah, United Arab Emirates","dimensions":"Length: 283mm, width: 250mm, base diameter: 80mm, opening diameter: 75mm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Arabian Peninsula","obtention":"Purchased","author":"Ulrike Al-Khamis","copy_editor":"Judy Harter","keywords":["coffee pot","dallah"],"materials":["Sheet and cast copper alloy"]},"344f16f7-3c16-5c30-926c-39ba140ff180":{"name":"Ewer","description":"During the Middle Ages, handwashing had a profound significance, linking hygiene, spirituality, and socialisation. This importance is attested to by the profuse production of ceramic and metal ewers and is also reflected in literature and poetry. Generally, stories and inscriptions, whether on the objects themselves or in architecture, refer to this act of purification in both secular and religious settings.  \n  \nIn relation to this cultural importance, ewers were not only found in religious spaces for ritual ablution prior to prayer but also played a role in secular spaces. At the entrances to domestic and palatial premises, as a sign of hospitality and generosity, the *tacas* (small openings in the walls) probably held containers of perfumed water to welcome visitors. In addition, banquets and receptions were preceded by a washing ritual that not only emphasised hygiene, but also power and social hierarchy.  \n  \nFurthermore, pieces such as this one have led to historiographical debate about their place of production, ranging from al-Andalus to Sicily, or even the Asian Levant.","type":"Ewer","holder":"National Archaeological Museum","owner":"Spanish State","initial_owner":"Private collection","dates":"AH 5th / AD 11th century","location":"Madrid","dimensions":"Height:  27.2cm , max diameter: 12.1cm, base diameter: 11.4cm, rim diameter: 6.9cm","place_of_production":"Al-Andalus","method_for_datation":"Formal parallels, historical-artistic study and metallographic analysis.","method_for_provenance":"Formal parallels, historical-artistic study.","provenance":"Al-Andalus","obtention":"State acquisition through the antiquities market.","bibliography":"Makariou, S., \"Aiguière\", *Les Andalousies de Damas à Cordoue*, París: Hazan, 2000: 152, fig. 169.  \n  \nZozaya Stabel-Hansen, J.: \"Importaciones casuales en al-Andalus: vías de comercio\", en R. Azuar y J. Martí Oltra (coords.), *Actas IV Congreso de Arqueología Medieval Española. Sociedades en transición, Vol. I*, Alicante: Diputación Provincial-Asociación Española de Arqueología Medieval, 1993: 125, fig. 7f.","workshop":"Al-Andalus","author":"Helena Lahoz Kopiske","translator":"Dept. of Medieval Antiquities of the MAN","translation_copy_editor":"Judy Harter","keywords":["espiritualidad","etiqueta social","hospitalidad","Ritual religioso","ritual secular"],"materials":["Brass cast","engraved"]},"34f380b0-4a42-5a73-b60e-c3be05e1e957":{"name":"Bukhara Ewer","short_description":"Fine engravings of Islamic motifs such as plaited bands, rows of ellipses and floral patterns such as rose and palm scrolls cover the pear-shaped body of this copper ewer originating from Bukhara (Uzbekistan), a hub of trade and culture located on the Silk Road. Additionally, the object is engraved with the inscription of the owner’s name - Ibrahim.  \n  \nBecause food is eaten with the hands in Arab and Persian custom, hosts would frequently offer to pour water from this vessel into a guest’s hands in a washing ceremony. Until this day, people in the region may offer an opportunity to clean one’s hands in their home or majlis. Often, guests receive soap and a fresh towel as an act of politeness and hospitality.","type":"Domestic tool","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"17th century","location":"Shahaniya","dimensions":"Length: 15cm, Width: 9cm, Height: 37cm","place_of_production":"Uzbekistan, Bukhara","method_for_datation":"The date and origin were established from a research-based comparison of metalwork of Bukhara.","method_for_provenance":"The date and origin were established from a research-based comparison of metalwork of Bukhara.","provenance":"Uzbekistan","obtention":"Purchase","bibliography":"Baer, E., *Metalwork in Medieval Islamic Art*, Albany: State University of New York Press, 1983.  \nChaffetz, D., *A Journey Through Afghanistan*, Chicago / London: University of Chicago Press, 2001.  \nGray, B., \"Post-Sasanian Metalwork\", *Bulletin of the Asia Institute*, 5 (1991): 59–64.  \nRahmonī, R., Perry, J. R., \"Traces of Ancient Iranian Culture in Boysun District, Uzbekistan\", *Asian Folklore Studies*, 60 : 2 (2001): 295–304.","author":"Sarah Schroeder","copy_editor":"Valerie Pulsifer","keywords":["Bukhara","ewer","metalwork","Uzbekistan"],"materials":["copper","Engraving"]},"350fb6ad-04ad-5c80-8461-d7358ddfc0b8":{"name":"Incense burner","short_description":"Bronze incense burner in the form of a stylized feline, cast in intricate openwork to release the incense, with inlaid faience and glass eye, the tail terminating in a floral and avian plaque, the hinges head and neck serving as the lid. It was cast in openwork, chased and engraved, the eyes inlaid with light turquoise-glazed faience, the latter inlaid with a thin slab of turquoise-coloured glass.","type":"Vessels & receptacles","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira 6th–7th century / AD 12th–13th century","location":"Kuwait City","provenance":"East Iranian World","keywords":["chasing","engraving","Faience","figurative motifs","floral decoration","glass","inlay","openwork"]},"359a8351-850d-54e6-b825-353190856a52":{"name":"Small vial","description":"This small hexagonal vial is decorated with arabesques, floral motifs and Arabic inscriptions, written in cartouches bordered by red copper, reading \"work is beneficial, courtesy is a matter of well-being, ignorance is baseness\"","type":"Copper","holder":"Musée Public National des Arts et Traditions Populaires","location":"Algiers","translator":"Flaminia Baldwin"},"36adfe60-d1bb-5d20-835e-c6987c2d3ca0":{"name":"Coffee group","description":"Coffee is always served at the beginning of a visit and is repeatedly offered until guests politely signal that they have had enough by rocking their cup from side to side. In order to keep coffee hot and fresh for unexpected guests it goes through many stages. After roasting and grinding the coffee beans the grains are added to boiling water inside a large *dallah* (coffee pot) called a *khamra*. Next, the liquid is poured into a medium-sized coffee pot called a *taljeemah*. At this stage cardamom seeds, saffron and rose water may be added for flavour. From this jug, the coffee is poured into a serving *dallah* referred to as a *mezallah*, where the coffee is refined and filtered. The server must hold the *mezallah* with their left hand and distribute the *fanayeel* (coffee cups) using the right hand. The coffee should fill less than half of the cup.","holder":"Sharjah Heritage Museum","owner":"Sharjah Museums Authority","location":"Sharjah, United Arab Emirates","obtention":"Purchased","author":"Amanda Snyder","copy_editor":"Judy Harter","keywords":["beans","coffee","coffee beans"]},"36cc9217-5ff7-57f0-a977-3515ad9d0ccb":{"name":"Ewer, Pitcher","short_description":"Ewers like this were used for pouring water and could commonly be found in the household. Examination suggests that they were formed from four separate sheets, each hammered and shaped to form the base, the body, the shoulder and the neck. The handle was cast and then attached by riveting and soldering. On some objects of this type, the seams are still visible, showing the technique of interlocking and soldering the joints.  \nThe slanting, undecorated base leads into a cylindrical body which is slightly concave. Most of its surface is adorned with small dots in horizontal rows. On the shoulder a band with an inscription was engraved, as well as a ribbon in a fish-bone pattern. The neck is mainly ornamented by carved horizontal lines and one floral ornament below the slightly everted rim. An extra bracing connects the neck to the handle. It consists of a twisted wire that was flattened to a belt in the middle and wrapped around the neck of the ewer. This was to support and stabilise the object, as the above mentioned way of fusing its components leaves the seams as potential breaking points. The overall heavy corrosion makes it difficult to examine the ewer more closely.  \nThe Herat collection hosts four vessels of this type – they even show the same design of punched dots (HNM 02.14.86, 02.25.86, 04.04.86, 02.11.86). Other finds of this type of artefact include three vessels from the Maymana metal-hoard, three ewers from Sweden, which even contained coin hoards, and one copper ewer from Merv.  \nEven though there are some comparable pieces from excavated contexts, the dating still seems to be a difficult issue. Through the coins from the Swedish examples, however, and the overall decoration a date range between the 9th and 11th century is suggested.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 3-5th century / AD Probably 9-11th century","location":"Bamberg","dimensions":"Height: 35.9cm, Diameter mouth: 6.3cm, Diameter body: 18.5cm","method_for_datation":"By stylistic analysis and through comparison","provenance":"Khorasan","obtention":"Purchased from Yazdani, London in 1990","bibliography":"Allan, James W., *Nishapur. Metalwork of the early Islamic period*, New York: Metropolitan Museum of Art, 1982.  \nFranke, Ute and Müller-Wiener, Martina (eds), *Herat through time. The collections of the Herat Museum and Archive / Harāt dar ṭūl-i tārīḫ ; maǧmūʿa-i āṯār-i Mūziyum wa Āršīf-i Harāt, Ancient Herat research reports of the German-Afghan Archaeological Mission to Herat, Afghanistan*, Vol. 3, Berlin: Editor General: Ute Franke, 2016.  \nMustafayev, Şahin and Moldahmetovič Bajpaķov, Karl, *Toreutics, The artistic culture of Central Asia and Azerbaijan in the 9th - 15th centuries*, International Institute for Central Asian Studies. Project manager: Sh. Mustafayev, Acad. ed. Board: K. Baypakov; Sh. Pidaev; A. Khakimov ; Vol. 3, Samarkand-Tashkent: IICAS, 2012.  \nScerrato, Umberto, “Oggetti metallici di età islamica in Afghanistan”, *Annali*, 9 (1959): 95–130.  \nTure, Johnsson Arne, \"Ein bemerkenswerter Fund in Östergötland\", *Acta Archaeologica*, 3 (1932): 67-112.","author":"Tamara Haller","copy_editor":"Daniel de la Vega","keywords":["ewer","hammered","pitcher","punched"],"materials":["cast","engraved","fused","Hammered from sheet metal","punched"]},"36d231d4-e722-5471-936b-e81fdd08dc11":{"name":"Coffee pot","description":"Coffee formed the basis of all hospitality rituals in the Arabian Peninsula. The coffee beans were freshly roasted, ground and brewed in coffee pots whenever guests were received, and a strict etiquette was followed in the serving of coffee, with offence easily taken if any breach of the expected procedure occurred. Hospitality was a source of tremendous pride and no respectable host would be seen without a variety of coffee pots with which to honour his guests. In the Arabian peninsula, coffee pots were originally made of earthenware, but were replaced by more durable and ostentatious copper coffee pots.","type":"Coffee pot","holder":"The British Museum","dates":"1900–1930","location":"London","provenance":"Yemen"},"37a27989-a571-558d-8e53-62ed28c07f4f":{"name":"Chandelier.","description":"This copper object consists of a six-segment ring on a cylindrical drum supported by six consoles.  \nThe ring acts as a plate to which were fixed the metallic supports that held the oil jars that were used as lamps. It is decorated with inscriptions and plant motifs, both combined with and independent of the inscriptions.  \nThe inscriptions are engraved on two circular bands that delimit its surface. On the outer band, the inscription in cursive characters includes pious formulas and eulogies, as well as the date the chandelier was made.  \nThe inner band, engraved in *kufic* characters, combines a eulogy and floral decoration.  \nBetween the two bands there is a wide section of openwork and carved plant decoration, including palms on foliage (single or asymmetrical palms with calyxes and double palms with axillary buds).  \nThe same decorative scheme can be found on the surface of the drum. Between two bands containing votive inscriptions in cursive characters, a wide openwork band bears a votive inscription in *kufic* characters and floral motifs emerging from foliage.  \nThe flower-shaped consoles are decorated with plant motifs engraved in the spandrels and votive inscriptions in the rectangular frame.  \nThis light is a simplified prototype of the plate chandeliers used since the Almohad period until the beginning of the 20th century to light mosques and prayer rooms in *madrasas*. These chandeliers, which belonged to sanctuaries, were carefully decorated, particularly under the Marinids. The chandelier of the Taza mosque and Al-'Attarin Madrasa in Fez are two of the best examples.","short_description":"This lamp, decorated with inscriptions and plant motifs, is a simplified prototype of the plate chandelier, which had metal supports for the oil jars. They were used to decorate and light prayer rooms as late as the beginning of the 20th century.","type":"Chandelier, copper","holder":"Batha Museum.","dates":"Hegira 690 / AD 1291.","location":"Fez.","dimensions":"Upper diameter 67 cm, base diameter 24.3 cm.","method_for_datation":"The inscription engraved on the outer band of the plate finishes by mentioning the date of manufacture: 'Made on 11 Dhu'l Qa'dah 690' (4 November 1291).","method_for_provenance":"The object was bought in Fez and resembles chandeliers from the Marinid mosques and *madrasas* of that town.","provenance":"Fez.","obtention":"Purchased in 1987.","bibliography":"Amahan, A. and Cambazard, C., *6000 d'Art au Maroc*, catalogue, Paris, 1990.  \nTerrasse, M., “Le mobilier liturgique Mérinide”, *Bulletin d'archéologie marocaine*, Vol. X, Rabat, 1976, pp.185–208.  \n*Andalusian Morocco: A Discovery in Living Art*, pp.98–9.","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["epigraphic decoration","liturgical object","vegetal decoration"],"materials":["carving and openwork.","Yellow copper"]},"37c7ac1e-311b-504e-b4d9-c3f7173a7125":{"name":"Candlestick.","description":"A candlestick with a truncated, conical body and double ridges around the lower edge and below the shoulder. The shoulder is flattened and has been damaged and repaired. From the centre of the shoulder a cylindrical neck rises into a projecting candle socket, echoing the shape of the body in the double ridges around its base and mouth; damage and deformation affect the aperture of the socket. The candlestick is embellished with incised decoration, much of which was originally inlaid with silver. On the socket there is a cursive inscription band, interrupted by roundels with whirling rosettes and enclosed by a continuous plain border. The inscription gives the official titles of the owner. The two ridges of the socket are enhanced by hatching.  \nOn the neck are three bands: the two outer bands comprising latticework with individual four-leaf motifs, interrupted by two roundels with whirls. The broad band in between has a tall *thuluth*\\- script inscription set against a stylised leaf-scroll background that is interrupted by two large roundels with individual lotus blossoms, five-petalled flower heads and floral scrolling. The base of the neck is enhanced by obliquely set leaf shapes and a stylised scroll band. On the shoulder two elongated cartouches alternate with two roundels; they are filled with individual lotus blossoms, the cartouches further enhanced with secondary motifs such as five-petalled flower heads.  \nThe two ridges below the shoulder have an oblique-leaf decoration similar to that seen on the base of the neck, above and below this is a narrow interlacing leaf scroll. On the body of the candlestick, two elongated epigraphic cartouches alternate with two epigraphic roundels. The remaining background is filled with a geometric T-fret pattern. The cartouches give the titles and name of Sultan Muhammad ibn Qalawun, who was twice deposed, reigning three times between AH 693 and 741 / AD 1293 and 1340. At the centre of the roundels the titles are repeated: ‘al-sultan al-nasir’, with further titles radiating from it with tall, slim and densely set *hastae* (spears). The decoration on the body is completed at the base by oblique leaf designs on the ridges, between which is a leaf scroll guilloche.","short_description":"In Mamluk times splendid silver- and gold-inlaid utensils were commissioned by officials and rulers. Most show proud large-scale inscriptions with the patron’s name or titles, some are radial sun-like compositions around the owner’s emblem, attesting to his self-confidence and spiritual aspirations.","type":"Metalwork, brass, silver","holder":"National Museums of Scotland (NMS).","initial_owner":"Sultan al-Nasir Nasir al-Din Muhammad ibn Qalawun.","dates":"Hegira 8th century / AD 14th century.","location":"Edinburgh, Scotland","dimensions":"Height 27.94 cm; diameter (at base) 25.40 cm.","method_for_datation":"Produced for Sultan al-Nasir Nasir al-Din Muhammad ibn Qalawun who was twice deposed, reigning three times: 693–4/698–708/709–741 / AD 741 / 1293–4/1299–1309/1310–1340.","method_for_provenance":"The style of this candlestick is consistent with Mamluk metalwork executed during the 8th / 14th century in both Egypt and Syria, characterized in particular by the large and emphatic titular inscriptions, highlighted by silver inlay. There is also a notable tendency to display inscriptions in radial compositions around the blazon of the owner like sun rays; a device that probably held symbolic significance and attests to the self-confidence and spiritual aspirations of Mamluk patrons. Lotus blossoms are also in evidence during this period, coupled on occasion with peonies and other minor chinoiserie motifs.","provenance":"Egypt or Syria.","obtention":"Purchased by NMS from Bluett and Sons, London, in 1966.","linkcatalogs":"IAM_EG_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["al-Nasir Nasir al-Din Muhammad ibn Qalawun","calligraphy","inscription","Thuluth"],"materials":["Hammered and incised sheet-brass with remains of silver inlay."]},"37f2def9-cf7f-5ab5-b473-ee0a55d36f21":{"name":"Tool to open oysters","description":"This simple implement is an oyster-shucking knife, known as miflaqa (pl. mafaliq).  Such implements are already mentioned in historical sources, including the writings of Al-Idrisi and Ibn Battuta. However, in those days, they were associated with separating and freeing the oysters from the seabed. In more recent times, tools such as this one were definitely used to open the pearl oysters.","type":"Wood and iron knife to open oysters","holder":"Sharjah Maritime Museum / Sharjah Museums Department","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah","provenance":"Sharjah Emirate","author":"Ulrike Al-Khamis"},"3828c162-2d15-59f4-9ada-7de1bf2f0b9d":{"name":"Hanging oil lamp in a shape of a bird","short_description":"Rare in its perfect plastics this bronze cast hanging oil lamp in a shape of a bird arouses many questions as to the time and place of its origin. The motif of a bird with a branch in the beak is well known from the Iranian metal of the Sassanid era (3rd–7th century). There is also an interesting technical aspect of the object. The narrow short tube on the breast of the bird could serve as a \"dropper\" that provided economical oil consumption from the tank in the trunk. Such oil lamps presumably were designed to illuminate small premises. On the head of the bird a short inscription is chiselled in a medallion: \"... Muhammad Ali\". The inscription is considered a later addition.","type":"Metalwork; Lamp","holder":"The Khanenko Museum","owner":"The Khanenko Museum","dates":"AD 12th–13th century (?)","location":"Kyiv","dimensions":"Height: 17cm","method_for_datation":"Stylistic analysis by M. Vyazmitina (V. Krachkovskaya) (publication, 1930, date, origin), A. Ivanov (examination, 1960, origin specified).","method_for_provenance":"According to the entry in the old Museum Inventory Register (1925-1946)","provenance":"Iran or India (?)","obtention":"Purchased by Bohdan and Varvara Khanenko in Paris, 1914, from Fredrik Robert Martin's collection. Donated by Varvara Khanenko in 1918, nationalized by Bolshevik regime in 1919.","bibliography":"Martin, F. R., *Ältere Kupferarbeiten aus dem Orient*, Stockholm: Chelius, 1902: table 26.  \nRudyk, H. (ed), *Charisma of Iran. Persian art of 12th–19th centuries from museum collections of Ukraine*, Kyiv: The Khanenko Museum, 2017.  \nVyazmitina, M. (ed), *Mystetstvo krain islamu (Art from Islamic Countries)*, catalogue, VUAN Museum of Art, Kyiv: All-Ukrainian Academy of Sciences, 1930.","author":"Antonina Makarevych","copy_editor":"Janice Medina","keywords":["copper alloy","Iran","oil lamp"],"materials":["cast","Copper alloy","embossed","engraved"]},"386fe084-5d31-5abb-9f36-fb457dd43935":{"name":"Edward Jenner Inoculates his Small Son with the Smallpox Vaccine","alternate_name":"*Edoardo Jenner inocula il vaccino del vaiolo al figlio*","description":"Giulio Monteverde was an Italian sculptor who started carving wooden crucifixes before moving on to sculpture during his years at the Academy of Fine Arts in Genoa. In 1865 Monteverde moved to Rome to study at the Academy of St. Luke. The sculpture of Edward Jenner (1749-1823) represents the British physician and naturalist inoculating for the first time, on his own son, the smallpox vaccine that he invented. This work was initially rejected by the Academy of St. Luke, entrusted with selecting works of art for the International Exposition in Vienna, but then exhibited in it thanks to an influential friend. The plaster cast of Jenner won the gold medal in Vienna, and a similar success was had with the marble version presented at the Universal Exhibition in Paris in 1878 when it won the medal of honor. The bronze version shown in the picture represents Jenner administering the smallpox vaccine to his son, blending dynamism and details in the face of the scientist, clothes and objects.","type":"Sculpture","holder":"National Gallery of Modern Art (GNAM)","dates":"c. 1878","location":"Rome","provenance":"Italy","copyright":"Copyright image: Soprintendenza alla Galleria Nazionale d'Arte Moderna e Contemporanea.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"388b0d1b-5233-57de-a649-d3f01bcaafa3":{"name":"Lidded Jar","description":"This baluster-shaped pot is typical of imperial Mughal-style production. The decoration includes the traditional Kundan technique, where the stones are foil-backed and set into metal collets using high-carat gold foil, as opposed to being soldered. The technique dates back centuries in India but gained popularity during the Mughal period (AD 1526–1858), where today it remains the most popular method of setting stones. This lidded jar is decorated almost exclusively with green enamel in the champlevé technique, which etches the metal ground with fine lines before applying and fusing the enamel to the surface. Here, a series of fine lines can be seen through the translucent green enamel. The table-cut diamonds are arranged into six foliated panels set with floral sprays. The most unusual decorative feature is the green enamelled flower at the bottom of the base, detailed with petals ascending in size from the centre.","type":"Jewellery","holder":"Museum of Islamic Art","owner":"Qatar Museums","dates":"Hegira late 12th, 13th century / AD 18th, 19th century","location":"Doha, Qatar","dimensions":"Height: 12.2cm","place_of_production":"India, probably Jaipur or Delhi","provenance":"India, probably Jaipur or Delhi","bibliography":"Christie's London, *Arts of India*, 2003.","author":"Tara Desjardins","copy_editor":"Judy Harter","materials":["Copper alloy","diamonds","enamel"]},"38c49d86-1f30-5ebd-a391-a533a976b571":{"name":"Bowl.","description":"A deep-sided brass bowl engraved and inlaid with silver; the bottom has been hammered (repoussé) into a radiating palmette design. The major element of the bowl's decoration are the large cartouches which carry majestic calligraphic inscriptions reading, 'Glory to our lord, the Sultan, the just ruler, the holy warrior, the guardian of the frontiers, the aided [by God], the victorious, sultan of Islam and the Muslims, al-Malik al-Ashraf Abu'l-Nasr Qaytbay'. Smaller roundels between these cartouches also praise Qaytbay and add the phrase 'may his victory be glorious', implying that he is still alive. It seems likely that this exquisite bowl was made as a basin for hand-washing for the personal use of Sultan Qaytbay. The style and quality of the decoration are characteristic of the revival of the arts under the relatively peaceful and prosperous reign of Qaytbay.","short_description":"A deep-sided brass bowl, hammered and engraved with decoration including the name and titles of Sultan Qaytbay. Since the inscriptions imply that he is still alive, the bowl may well have been made for his personal use as a hand-washing basin.","type":"Metalwork, brass","holder":"Victoria and Albert Museum.","initial_owner":"Sultan Qaytbay.","dates":"Between hegira 872–901 / AD 1468–96.","location":"London, England","dimensions":"Height 15.4 cm, diameter 40.6 cm.","method_for_datation":"The inscription names Sultan Qaytbay and implies that he is still ruling ('may his victory be glorious'). Thus the bowl is dated to his reign between 872–901 / 1468–96.","method_for_provenance":"Cairo was the Mamluk capital and thus the likeliest place that an object of such quality would have been made.","provenance":"Probably Cairo.","obtention":"Purchased by the Museum in 1856.","bibliography":"Stanley, T., with Rosser-Owen, M. and Vernoit, S., Palace and Mosque: Islamic Art from the Middle East, London, 2004, p.56, p.98, p.134 and plate 112.","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","floral decoration","inscription","water"],"materials":["Inlaid brass."]},"39965ec4-de1b-54df-b13b-6f3de0ef242b":{"name":"Morse transmitter","description":"In 1840, the Ministry of Post made an announcement describing the postal service, declaring it necessary in order to facilitate communication among people. The first regulations about the postal organisation were taken from French Law in 1840. Ottoman Postal Code included 44 specific headlines. In 1855 the first telegraph service and in 1909 the first telephone service were put into common use as a demonstration of modern communication. In order to improve the technology of the telegraph systems, Ottoman authorities imported well-known machines with trademarks such as Siemens & Halske and Western Electric. As a result of this technological improvement, Ottoman officials decided to establish a telegraph factory. Between 1869 and 1915, this factory produced many devices and accessories.","type":"Electronic","holder":"Istanbul Postal Museum","dates":"1930","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"3a63a4e2-e2e7-5510-a70e-ab92d4f99911":{"name":"Steel powder flask","short_description":"This powder flask shows a feline attacking a bull, an age-old Middle Eastern symbol of a powerful ruler defeating his weaker foe. By the time this piece was made, the Persian army had been undergoing western-style modernization for some time. It is therefore likely that rather than being made for actual use, it was created as a historicizing curio.","type":"Metalwork","holder":"Sharjah Museum of Islamic Civilisation","dates":"Hegira late 13th century / AD late 19th century","location":"Sharjah","provenance":"Iran","keywords":["armours","arms","flask","Iran","metalwork","military object","military wear","warfare"]},"3ce9d4f4-ee92-5a23-b01e-6209cae6e2dc":{"name":"Celestial Globe","description":"This precisely executed globe, made of two hemispheres, is the sixth earliest surviving celestial globe. The maker’s name is given twice on the globe. The first, and shorter inscription, states that the globe was made by Muhammad ibn Mahmud ibn ‘Ali al-Tabari. His name appears again in the longer five-line inscription, where he omits the name of his grandfather and his nisbah, but emphasizes instead his trade as an astrolabe-maker, al-asturlabi. And indeed the globe does reflect the work of a professional instrument maker.  \n  \nThe long inscription, situated near the south pole of the instrument, states that its maker, Muhammad ibn Mahmud based it on the illustrations in the AH 4th / AD 10th-century astronomer al-Sufi’s *Kitab suwar al-kawakib al-thabitah* (‘Book of the Fixed Stars’), adapting it to take account of the 200-year lapse of time and rectifying errors of placement and spelling and that the maker had written the identifications of the various constellations of the Zodiac, fixed stars, lunar mansions, and of some non-Zodiacal constellations as well. These show certain discrepancies with al-Sufi’s figures, and, further away from the ecliptic, the star-positions are increasingly misleading. And, although the maker does not say so, he would also have been responsible for calibrating the globe, a necessary condition of its being used for astronomical purposes.","type":"Scientific instrument","holder":"Nasser D. Khalili Collection of Islamic Art","owner":"Nasser D. Khalili Collection of Islamic Art","dates":"AH 684 (AD 1285–6)","location":"London","dimensions":"Diameter: 13.4cm","place_of_production":"Iran","method_for_datation":"Dated AH 684 (AD 1285–6)","bibliography":"Maddison, F. and Savage-Smith, E., *Science, Tools & Magic. The Nasser D. Khalili Collection of Islamic Art, vol. XII. Part One: Body and Spirit Mapping the Universe, London: The Nour Foundation, 1997: cat.123, pp.212–13.  \n  \nRogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: cat.365, p.309.*","catalogue_holding_link":"https://www.khalilicollections.org/collections/islamic-art/khalili-collection-islamic-art-celestial-globe-sci21/","author":"Qaisra Khan","materials":["brass","incised and inlaid with silver"]},"3d5efcb2-fd89-51e3-ac74-47777b9edbb6":{"name":"Saber (*shamshir*)","short_description":"Attributed to Imam Saif bin Sultan al-Yarubi I (*Qaid al-Ard’*)  \n*Collections of Sultan Qaboos bin Said bin Taimur*  \n  \nThe blade of this saber is by Asadallah of Isfahan, one of the most celebrated swordsmiths of Islamic civilisation in the Hegira 11th century / AD 17th century. It is made from Damascus steel and patterned with the most complex design, known as the “forty steps”. The swordsmith’s signature appears in the middle gold cartouche of the blade reading “the work of Asadallah 186”, and “property of Sheikh Saif” in the lower cartouche, as well as the inscription “Shah Abas year 5”.  \n  \nThe blade’s inscription proves that the sabre was not taken as loot. Rather, the maker had been commissioned directly. The design and inscriptions make it likely that it was made for presentation to Saif, perhaps by the Safavid Court of Persia, who, in Hegira 1086 / AD 1675, saw him as a future leader of Oman.","holder":"National Museum Oman","dates":"1086 AH / 1675 AD","location":"Muscat","dimensions":"Sword length: 97cm, handle length: 11.5cm, blade width: 3.5cm","copy_editor":"Liz Cooper","materials":["Damascus steel (blade)","Gold and ivory (handle)"]},"3d75b4f5-408b-508c-ad11-26e59afd1efb":{"name":"Incense burner","short_description":"The Christian incense burner belongs to a group that is normally ascribed to the Syrian and Palestinian area. This attribution is further confirmed by the unique inscription in early *Kufi* that can be translated as follows: “In the name of Allah (God), made by Yaqub, son of Ishaq from Damascus.”","type":"Burner, metalwork","holder":"The David Collection","dates":"Hegira 2nd century / AD 8th century","location":"Copenhagen","provenance":"Syria or Palestine","keywords":["cast brass","gold","Incense burner","Iran","religious object","silver"],"materials":["Cast and engraved bronze","later chain"]},"3e0c77fe-e569-53cb-a6e6-0d26f3ac626b":{"name":"Coffee pot","description":"This copper pot has been covered in a thin layer of silver and lavishly decorated. Its swelling shape shows the influence of the European Baroque style on the Ottoman decorative arts. Most metal coffee pots were made of cheaper materials such as tinned copper. In richer homes, coffee was served to honoured guests in pots like this one, made of precious metals (or imitations of them) and decorated in the latest taste.  \nThe Ottoman Baroque style developed from the 1740s as artists and designers began to apply non-figurative European motifs to Ottoman forms. It flourished until the 1820s, when new types of European ornament were introduced.","type":"Coffee pot","holder":"Victoria and Albert Museum","dates":"early 19th century","location":"London","provenance":"Turkey","author":"Victoria and Albert Museum"},"3e423cff-0065-54f2-9ad6-2060de93303b":{"name":"Barometer","description":"This barometer was a fixture of the Ottoman Anatolian Railway Company (CFOA – Chemin de fer Otoman d'Anatolie), 19th century.","type":"Scientific instrument","holder":"Istanbul Railway Museum","dates":"1888","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"3e6397b4-d839-55fb-83c0-463d120d0c76":{"name":"Tray stand","short_description":"This spectacular tray stand, made of sheet brass inlaid with silver, has a decorative scheme devoted entirely to glorifying the (unnamed) ruler for whom it was made. On the body, among other scenes, is that of the monarch between two pairs of servants, seated on a throne with lions below and winged angels above. Above and below this are astrological symbols, thus showing the ruler not only as an earthly but also a heavenly power.","type":"Metalwork","holder":"Museum of Islamic Art","dates":"Hegira 7th century  / AD 13th century","location":"Doha","dimensions":"Height: 24.8 cm, Diameter: 25.6 cm","provenance":"Northern Syria or Northern Iraq (probably Mosul)","obtention":"Sambon Collection, Paris , France until 1912, then Charles Gillot Collection, Geneva, Switzerland  \nJasim Al-Homaizi Collection, inv. no. I/345 until 1999; sold to Qatar Museums","bibliography":"Abdellatif, Rania, *Syria Matters*, Milano: Silvana Editoriale, 2018.  \nAl Khemir, Sabiha, *From Cordoba To Samarqand, Masterpieces from the Museum of Islamic Art in Doha*, Milan: Musée du Louvre Editions, 2006.  \nAllan, James W., *Metalwork Treasures from the Islamic Courts*, London: The Islamic Art Society, 2002.","author":"Tara Desjardins","keywords":["astrology","Ayyubid","inlay","Iraq","metalwork","Monarch","Syria","Tray stand","Zangid"],"materials":["Black compund","brass","Chasing","Engraving","hammering","inlaying","Silver","Solder","soldering"]},"3ed77fd5-69e4-56f9-a0e5-48afa1165e32":{"name":"The crown of king Carol I","description":"Three years after obtaining its independence from the Ottoman Empire, Romania was declared a kingdom in March 1881. The coronation of prince Carol of Hohenzollern and his wife, Elisabeth, was settled for 10 May. Although the government wanted expensive and richly adorned crowns to be bought for the sovereigns, the king expressed his wish that his crown was made from the steel of a Turkish cannon captured by the Romanian army during the Independence War (the Russo-Ottoman war of 1877-1878), when Romania was Russia’s ally against the Ottoman Empire. Entirely of steel, the crown was made by the craftsmen working at the Army’s Arsenal. Queen Elisabeth’s crown was a smaller golden replica of the steel one and was made by an Austrian jeweler that had set up a workshop in Bucharest.","type":"Crown","holder":"National Museum of Romanian History","dates":"1881","location":"Bucharest","provenance":"Romania"},"3f16b552-d46e-5615-93a4-6d3aa09a3cdd":{"name":"Ewer.","description":"A ewer made of copper and inlaid with silver. Decorated with ornamentation and inscriptions in *naskhi* script; the text reads: 'The honourable Excellency, Tabtaq. Glory to his triumph'. Blazons decorate the surface of the ewer, bearing depictions of a goblet, thereby alluding to the position of cupbearer. Adorning the upper section of the ewer's body is a decorative band featuring a series of prominent roundels inside each of which is depicted a pair of confronting birds. The mouth is decorated with vegetal motifs and is equipped with a two-hinge cover and a strainer, which sits inside the mouth. The spout of the ewer has three decorative bands: the middle one carries propagandistic inscriptions in the *naskhi* script, while the other two are adorned with diamond-shaped units filled with vegetal motifs. The name on the ewer dates back to Amir Tabtaq, one of the elite officers of al-Malik al-Ashraf Khalil, who ruled from AH 689–93 / AD 1290–4. Tabtaq was Governor of the City of Qus in Upper Egypt during the third reign of the Sultan al-Nasir Muhammad ibn Qalawun (r. A.H. 709–41 / AD 1309–40).  \nThe crafting of ewers was an industry that flourished in Iran; it then transferred to Iraq and from there to Egypt, during the Ayyubid and Mamluk periods. The different forms of ewers and the roles that they played were manifold; they were used to pour water for bathing, for hand-washing, or for *wudu* (obligatory ablutions before prayer). However, ornamental ewers were used to decorate the palaces and houses of *amirs* and sultans.","short_description":"The importance of this ewer stems from its fine decoration. It bears the name of Amir Tabtaq, a follower of Sultan al-Nasir Muhammad, and a cup blazon, the emblem of his post as cupbearer. Ewers came to Egypt and Iraq from Persia and took many shapes. They were used in palaces and houses for bathing, hand-washing and obligatory ablutions.","type":"Ewer, copper","holder":"Museum of Islamic Art","dates":"Hegira 709–41 / AD 1309–40.","location":"Cairo","dimensions":"Height 40 cm, diameter (of base) 15 cm; diameter (of mouth) 10 cm.","method_for_datation":"The ewer is dated based on the name that it carries: Amir Tabtaq, who was one of the officers of al-Malik al-Ashraf Khalil, and the Governor of the City of Qus, during the third reign of the Sultan al-Nasir Muhammad ibn Qalawun (r. A.H. 709–41 / AD 1309–40).","method_for_provenance":"The ewer was crafted in Egypt, specifically for Amir Tabtaq, a fact verified by the inscription. Furthermore it was uncovered during an archaeological excavation in the Egyptian City of Qus. Likewise, the technique of inlay used is typical of the style that flourished in Egypt during the Mamluk period.","provenance":"Egypt.","obtention":"This piece was uncovered during the course of archaeological excavations in the City of Qus in Egypt in 1966.","bibliography":"Abd al-Razzaq, A., “Al**\\-**Runuq ala 'asr Salateen al-Mamalik \\[Blazons in the Period of the Mamluk Sultans\\], *Mijala al-Jam'iya al-Tarikhiya \\[Journal of the Historical Association\\],* 21, Cairo, 1974.  \nAtil, E., *Renaissance of Islam: Art of the Mamluks,* Washington D.C., 1987.  \n\\_\\_\\_\\_\\_\\_, et al, *Islamic Metalwork in the Freer Gallery of Art*, Washington D.C., 1985.  \nMusilhi, S., *Adawat wawani al-Matbakh al-Ma'adaniya fi 'Asr al-Mamluki \\[Metal Implements and Tools of the Kitchen During the Mamluk Period\\],* thesis, University of Cairo, 1983.  \nStierlin, H., and Stierlin A., *Splendours of the Islamic World: Mamluk Art in Cairo (1250–1517),* London, New York, 1997.","linkcatalogs":"IAM_EG_EN_001","author":"Muhammad Abbas Muhammad Selim","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["blazon","Copper","epigraphic decoration","ewer","inlay","inscription","naskhi script","Propaganda"],"materials":["Copper inlaid with silver."]},"3f5acf05-17af-5634-925f-1feecdda3b69":{"name":"Tray (*sinija*)","description":"The term *sinija* (Tr. sini) refers to a large circular brass or copper tray, that functioned as a low table on which food and beverages were served.  \nThis large, circular plate is decorated with the court life theme. In the center of the composition is a large scene depicting the ruler on the throne, surrounded by courtiers, servants, musicians, and dancers, with small tables with jugs and cups. The central scene is encircled with small medallions with seated human figures in each of them. The background is filled with floral and vegetal patterns, as in the case of the next decorative band. In that band, there are twelve roundels with alternately combined court life scenes and inscriptions – verses from Omar Khayyam's Rubaiyat and Ghazaliyat of Hafiz. Next to the raised sides and lobbed rim is the last decorative frieze, with medallions with, again, seated human figures and animals.  \nInscriptions in medallions:  \nرد هد یم لعل هلل نوگ یا ( یقاس  \n1  \nاشگب ز یولگ هشیش نوخ یا ( اس )  \n2  \nزورماک نورب ز ماج یم تسین  \n3  \nکی مرحم کاپ نوردنا یا  \n4  \nب زور هعقاو مغ اب بارش دیاب و ( تفگ  \n5  \nهک دامتعا هب سک تسین رد نینچ (ز ینم )  \n6","type":"Tableware","holder":"Museum of Applied Art","dates":"Hegira 12th century / AD 18th century","location":"Belgrade","dimensions":"Diameter: 655mm, weight: 4490g","place_of_production":"Persia","method_for_datation":"By stylistic and comparative analysis with related material.","obtention":"Purchased in 1951.","bibliography":"Karamehmedović, M. A., *Umjetnička obrada metala*, Sarajevo: Veselin Masleša, 1980: 162–164.","author":"Mila Gajić","keywords":["Copper","Persia","sinija","Tableware","Tray"],"materials":["brass","Engraving","hammering"]},"3fcb7f2b-128e-5b88-bf28-d883ef943e7e":{"name":"Mirror","short_description":"This circular copper alloy disc or mirror was used as a beauty accessory. One side is smooth and plain, the other side decorated in relief with two sphinxes either side of a tree. Around the rim is a band of blessings in *kufic* script.","type":"Mirror","holder":"Sharjah Museum of Islamic Civilization","dates":"6th century AH / 12th century AD","location":"Sharjah","dimensions":"Diameter: 10.8cm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Iran","obtention":"Purchased","author":"Hazelle Page","materials":["cast","Copper alloy","relief"]},"4045cd73-fd45-55dc-bfc3-29df4bf6d174":{"name":"Lidded bowl (*sahan*)","description":"A deep bowl on a rounded foot, with lid – *sahan* (Ar. *sân*) – was used for serving food. The bell-shaped lid is decorated with vegetal and geometric motives, with a small, circular, star-like handle on the top. The same type of leafy, vegetal pattern is engraved on the bowl.","type":"Tableware","holder":"Museum of Applied Art","dates":"Hegira 13th century / AD 19th century","location":"Belgrade","dimensions":"Height: 220mm, length: 210mm, weight: 565g","place_of_production":"Ottoman Balkans","method_for_datation":"By stylistic and comparative analysis with related material.","obtention":"Purchased in 1953.","author":"Mila Gajić","keywords":["Copper","lidded bowl","Ottoman Balkans","sahan","sân","Tableware"],"materials":["black compound","copper","Engraving","hammering","tinned"]},"40da55c5-df3f-5ef8-9186-8a1b2ad360ca":{"name":"Lidded bowl (*sahan*)","description":"The term *sahan* (Ar. *sân*) refers to a bowl or plate, usually made of copper, in which food was served. This particular nickel alloy bowl is deep and heavy, on a round foot and with a wavy rim. The lid is bell-shaped with a lifting handle on the top. All surfaces are decorated with leafy scrolls and flowers, using the cutting technique and black compound.","type":"Tableware","holder":"Museum of Applied Art","dates":"First half of the Hegira 14th century / AD 20th century","location":"Belgrade","dimensions":"Height: 185mm, length: 222mm, weight: 1665g","method_for_datation":"By stylistic and comparative analysis with related material","obtention":"Purchased in the 1950s.","author":"Mila Gajić","keywords":["lidded bowl","nickel alloy","sahan","sân","Tableware"],"materials":["black compound","Casting","Cutting","Nickel alloy"]},"4161ef6b-9657-5bfe-b8cd-b675c40d0f5f":{"name":"Small bowl","description":"Nielloed silver bowl (*çamça*) made in Van during the Ottoman period. The handle features a stylised bird figure, while the interior center contains a movable stylised duck motif.  \nIt bears both an Ottoman Turkish \"Van\" hallmark and an Armenian master’s mark with the initials “K.KH.\"","type":"Bowl","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 13th century / AD 19th century","location":"Istanbul","dimensions":"Height: 8cm, diameter: 11.5cm","place_of_production":"Anatolia","method_for_datation":"Determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","method_for_provenance":"It was determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","provenance":"Van","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","materials":["Silver"]},"41daa35b-1885-50fc-ae3f-4ad7bd09d95c":{"name":"Bath bucket","short_description":"The shape of the vessel clearly indicates its function. The body and the cover are engraved all over with scenes featuring demons (*div*), as well as fabulous creatures mentioned in Ferdowsi’s epic *Shahnameh* (The Book of Kings), but mostly associated with Persian oral tradition. The handle, likewise engraved with figures, is decorated at both ends with highly stylised dragon heads. The vessel was purchased by the well-known art collector Constantin Esarcu in the second half of the nineteenth century, which saw the emergence of important private collections in Romania.","type":"Metalwork","holder":"The National Museum of Art of Romania","dates":"Hegira first half of the 13th century / AD mid-19th century","location":"Bucharest","dimensions":"Height: 34cm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Iran","obtention":"Transferred from the collection of the Romanian Athenaeum in 1954.","bibliography":"Dunca, M., *Islamic Art at the National Museum of Art of Romania*, Bucharest: National Museum of Art of Romania, 2015: 70, no. 25.","author":"Mircea Dunca","keywords":["Bath bucket"],"materials":["brass","Bronze","copper","engraved and chiselled decoration"]},"41ddc5d1-7460-5d12-80ee-4872e35c50e0":{"name":"Incense Burner","short_description":"This bird-shaped incense burner would waft fragrance throughout homes, reception areas and mosques in Iran. Often hosts would sprinkle scented water over the censers for religious or ceremonial occasions.  \n  \nThe province of Khurasan became known for intricate and distinct metalwork during the early Islamic Seljuq dynasty (12th - 13th centuries). Borrowing influences from Sassanid Persia and blending in new approaches to metalwork, the school of Khurasan produced candlesticks and incense burners in animal and bird shapes.  \n  \nWhile birds symbolize freedom, heaven and the power of soul over body in Islam, the feathered animal bestowed good fortune upon its owner in the Seljuq era. The censer displays words about nature in old *Saljuqi* calligraphy. Today the pigeon-appearing burner represents the unique class of zoomorphic metalwork with enduring influences on enchanted objects transformed into animals.","type":"Domestic tools","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"13th century","location":"Shahaniya","dimensions":"Length: 24cm, Width: 17cm, Height: 21cm","place_of_production":"Iran, Khurasan","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, style and calligraphy.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, style and calligraphy.","provenance":"Iran","obtention":"Purchase","bibliography":"Aga-Oglu, M., \"An Iranian Incense Burner\", *Bulletin of the Museum of Fine Arts*, 48: 271 (1950): 8–10.  \nAllan, J. W., *Nishapur: metalwork of the early Islamic period*, New York: Metropolitan Museum of Art, 1982.  \nCanby, C. S. (ed), *Seljuqs and their Successors: Art, Culture and History*, Edinburgh: Edinburgh University Press, 2020.  \nO'Kane, B. (ed), *Iconography of Islamic Art: Studies in Honour of Robert Hillenbrand*, Edinburgh: Edinburgh University Press, 2019.  \nShıran, H. S., Parvın, S. and Mastalızadeh, M., \"THE THEMES OF METALWORKING IN THE SALJUQID PERIOD VIS-ÀVIS KHORASAN AND MOSUL SCHOOLS\", *Art-Sanat Dergisi*, 9 (2018): 95–107.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["bird","Incense burner","Iran","Khurasan","metalwork","Seljuq"],"materials":["Engraving","Iron"]},"42a95db0-705d-5ebb-926f-d8bab4c95c82":{"name":"Sword.","description":"A sword composed of a double-edged curved blade, a crosspiece and a hilt. The crosspiece assumes the form of a cross: the short side is adhered to the hilt and blade, while the long side projects from the blade and runs perpendicular to it, ending in two oval ornamented units. The blade is decorated with gilt inscriptions, bearing the name of the Mamluk Sultan al-Adil Tumanbay, who ruled for several months only and was deposed in the month of Ramadan in AH 907 (1501). The inscription reads: 'The sultan, al-Malik al-Adil Abu al-Nasr Tumanbay, Sultan of Islam and the Muslims, Father of the Poor and Miserable, Destroyer of Infidels and Idolators, Reviver of Justice to all. May God grant him a lasting reign and may his triumph be glorious'.  \nIn general, swords from the Mamluk Period were embellished with gilt inscriptions that included the name of the sultan and their title; occasionally verses from the Qur'an were also engraved on them. The office of the *silahdar* (weapon bearer) was one of the highest positions in the Mamluk state, thus *amirs* who ascended to this position often had the form of the sword represented in their blazons.  \nIslamic swords were forged from Syrian steel, which was considered one of the best available. Swords were crafted in two parts: a pliable iron foil and a rigid one, they were then hammered together.","short_description":"One of the terrifying Mamluk weapons, the sword was used in war, for hunting and on courtly occasions. Swords were usually decorated with gilt inscriptions praising their owners, like this double-edged sword bearing the name of Sultan al-Adil al-Nasr Tumanbay.","type":"Sword, ivory, arms, armours","holder":"Museum of Islamic Art","initial_owner":"Al-Adil Sayf al-Din Tumanbay (reigned for a few months only, deposed Ramadan AH 907 (1501)).","dates":"Hegira 907 / AD 1501.","location":"Cairo","dimensions":"Length 93 cm.","method_for_datation":"The sword is dated based on the inscription carved on the blade: 907 (1501).","method_for_provenance":"It is likely that the sword was made in Egypt, particularly as it carries the name of Sultan Tumanbay, the ruler of Egypt at the time.","provenance":"It is likely that this piece was forged in Cairo.","obtention":"This piece was bought in 1919 from an antiquities dealer, Janon.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks,* Washington D.C., 1987.  \nAtil, E., et al, *Islamic Metalwork in the Freer Gallery of Art,* Washington D.C., 1985.  \nStierlin, H., and Stierlin, A., *Splendours of the Islamic World: Mamluk Art in Cairo (1250–1517),* London, New York, 1997.  \nWard, R., *Islamic Metalwork,* New York, 1993.  \nYujal, O., (trans. M. O. Taha), *Al-Suyuf al-Islamiya wa Sona'uha \\[Islamic Swords and their Manufacture\\],* Kuwait, 1988.  \nZaki, Abd al-Rahman, Al-*Sayf fi al- Islam \\[The Sword in Islam\\],* Cairo, 1951.","linkcatalogs":"IAM_EG_EN_001","author":"Al-Sayyed Muhammad Khalifa Hammad","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["epigraphic decoration","gilding","inscription","military object","sword","weapon","weaponry"],"materials":["its distinctive colour indicates that it is rhinoceros horn.","The blade: gilded steel","the crosspiece: gilt silver. The hilt is crafted from ivory"]},"42d17703-8c81-5581-93a9-a8ddfeb7b3fb":{"name":"Fragments of bronze door facing.","description":"These fragments of the bronze facing of al-Ganaiz door, arranged on a wooden board after their restoration, consist of two sections: an epigraphic frieze and a decorative panel.  \nThe epigraphic strip located on the upper part consists of a cartouche framed on its sides by mixtilinear knotwork that joins a second line to make a braid that delimits the side edges. The text of the inscription is a eulogy ('everlasting joy and happiness') often found in monumental decoration. It is engraved in angular twisted *kufic* characters with high, bevelled upstrokes on a dense plant background consisting of different sorts of palms attached to spindly undulating foliage: single asymmetrical palms, palms growing from a calyx with two disc-shaped lobes stretching into stems at the ends, and symmetrical double palms with divergent or multiple lobes, arched at the base.  \nThe decorative panel consists of different nailed parts connected by copper strips to make a double overlapping geometrical composition (cruciform figures and polygons developed on the basis of two lobed squares). The centres of the squares are decorated with cast plant motifs formed by smooth palms and foliage, and surrounded by a circular braid wrapped with an epigraphic band in cursive characters cast in relief, a eulogy on the theme of happiness and success. The centres of the polygons are stamped with floral-decoration cartouches similar to the plant background of the upper *kufic* inscription.  \nThe bronze facings from which these fragments came, whose date of manufacture and craftsmen are known, are the first examples of Muslim copperware in the West.","short_description":"These bronze fragments came from the facings of one of the mosque doors. Sculpted with geometric, floral and epigraphic motifs, they are the earliest examples of Muslim bronze work in the West.","type":"Door, facing, metalwork","holder":"Batha Museum.","initial_owner":"*Habus* (endowment).","dates":"Hegira 531 / AD 1136.","location":"Fez.","dimensions":"Height 75 cm, length 40 cm.","method_for_datation":"Dated using the inscription found on another fragment of the bronze facing of the door of the Qarawiyyin mosque, corroborated by the author of *Zahrat al-As* (see Bibliography), who relates that the facing was made at the time when the mosque was expanded under the Almoravids, and specifically during the reign of 'Ali ibn Yusuf (AH 531 / AD 1136).","method_for_provenance":"These fragments are similar to those still in place in 1957.","provenance":"Qarawiyyin Mosque, Fez.","obtention":"Parts saved from smelting in 1957 and salvaged by the Museum.","bibliography":"Al-Jaznai (Abu al-Hasan Ali), *Zahrat al-As* (Myrtle Flower), Arabic text translated and annotated by A. Bel, Algiers, 1923.  \nCambazard-Amahan, C., *Le décor sur bois dans l'architecture de Fès*, Paris, 1989.  \nTerrasse, H., *La mosquée al-Qaraouiyine*, Paris, 1968.  \n*Andalusian Morocco: A Discovery in Living Art*, p.104.","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["epigraphic decoration","geometric decoration","religious building","vegetal decoration"],"materials":["Cast bronze","engraved and carved."]},"43014a3e-3f06-5cd3-953a-6674419c07b7":{"name":"Hand carding tool","description":"Tool used to card wool. Carding is the technique of separating the shorn wool fleece into individual long fibres to prepare them for spinning.","type":"Carding tool","holder":"The Jordan Museum","owner":"The Circassian Charity Association","dates":"AD 1860","location":"Amman","dimensions":"L:25cm, W: 10cm-15cm","method_for_datation":"The great-grandparents of the owners of this object brought it with them to Jordan when they immigrated in 1860.","provenance":"Caucasus","obtention":"Loan","author":"Najd Sweidan","copy_editor":"Lisa Kelman","materials":["Wood and iron"]},"4312ed57-80a5-53ca-a579-d77d2e79388d":{"name":"Hexagonal dinner stand.","alternate_name":"Dining pedestal.","description":"This piece assumes the shape of a hexagonal (six-sided) pedestal upon which dinner trays would be placed; it is therefore known as a dinner stand. Its top surface, which is also hexagonal in shape, has a central circular decoration comprising a radiating inscription in a plaited *kufic* script. The radiating form of the inscription increases its decorative impact as it appears to simulate the rays of the sun coming from a central medallion, in which the artist has inscribed the name of Sultan al-Nasir Hasan ibn al-Nasir Muhammad ibn Qalawun, for whom this table was probably made. Framing the surface of this piece, is an inscription in Mamluk *thuluth* script which includes the name of the sultan and a number of his titles, it reads: 'Glory to our lord the Sultan al-Malik al-Nasir al-'Alam, al-'Adil, al-Mujahid, al-Murabit, al-Muthaghir, al-Mu'ayyad, al-Mansur, the Sultan of Islam and the Muslims, the Destroyer of Apostates and Infidels, the Reviver of Justice to all, the Protector of the oppressed against the oppressors, the Protector of the Muslim community, the Protector of worldly and spiritual matters, ibn al-Sultan al-Malik al-Mansur Qalawun Al-Salihi'. And surrounding these inscriptions along the interior are a series of lobed semi-circles decorated with flying ducks that are distinguished by their vitality and movement.  \nEach of the six sides of the pedestal's surfaces is comprised of four decorated panels arranged vertically one on top of the other. In the centre of one of these panels is a small door with two arched leafs which open to reveal an internal shelf. The panels are ornamented with openwork arabesque designs, composed of intertwining vegetal leaves and stems, lotus blossoms, and epigraphic inscriptions in *thuluth* script, on a background of openwork decorative motifs. The table has six short 'supports', posts that rest on the legs. A series of inscriptions are recorded on them, which indicate the name of the craftsman and his titles the English translation of which reads: 'Made by the poor slave hopeful of his God's forgiveness, known as the son of the teacher professor Muhammad, son Sunqur al Baghdadi al-Sanqari, in the year AH 728 \\[1327\\] in the days of our lord al-Malik al-Nasir, glory to his triumph'.  \nSuch objects, although used extensively as stands for food trays, were also used to carry the Qur'an or torches at night in mosques or palaces, as well as to carry drinks, vases and incense burners. It is possible that this pedestal, which belonged to al-Nasir Muhammad, had been used to carry these types of items in his private palace or in his *madrasa* which was built on the street of the coppersmiths *(Shari' Nahhāsin)* in Cairo. This supposition is made more likely in view of the fact that the object was recovered from the Bimaristan (hospital) of al-Mansur Qalawun, which is adjacent to the Madrasa of al-Nasir Muhammad.  \nThe dinner stand is one of the most valuable acquisitions in the collections of the Museum of Islamic Art in Cairo for it demonstrates the prolific production of metalwork in the Mamluk period. The importance of this particular piece stems from its having been crafted specifically for Sultan al-Nasir Muhammad ibn Qalawun, not to mention the fact that it contains the name of the craftsman who made it along with the date of manufacture. Its exceptional quality is magnified when its splendour and size are considered.","short_description":"This type of table, made from metal or wood, was extensively produced during the Mamluk period in Cairo. It was used to hold food or items that need to be elevated from the floor. This table is made of brass inlaid with silver on which the name and titles of Sultan al-Nasir Muhammad and the maker's name were inscribed.","type":"Stand, hexagonal dinner, copper","holder":"Museum of Islamic Art","initial_owner":"Sultan al-Nasir Hasan ibn al-Nasir Muhammad ibn Qalawun who reigned three times: AH 693–4 / AD 1294–5; AH 698–708 / AD 1299–1309; AH 709–41 / AD 1309–40.","dates":"Hegira 728 / AD 1327.","location":"Cairo","dimensions":"Height 81 cm, diameter 40.5 cm.","method_for_datation":"This piece can be dated based on the inscription it carries, which includes the name of the craftsman who made it and the date it was manufactured. This is in addition to the inscriptions on the piece which specifically name Sultan al-Nasir Muhammad ibn Qalawun.","method_for_provenance":"It is highly probable that the piece was crafted in Cairo, especially in view of the fact that it is decorated with epigraphic inscriptions in Mamluk *thuluth* script, a style prevalent in Mamluk pieces attributed to Egypt. Additionally, the design technique used in its manufacture and the decoration, closely resemble those used in a number of other objects known to have been made in Egypt, including a box (for a Qur'an manuscript) made of copper and inlaid with gold and silver, currently housed in the library of al-Azhar Mosque, which bears the name of Sultan al-Nasir Muhammad ibn Qalawun and is dated 723 (1322). There is an almost identical box in the collections at the Museum of Islamic Art in Berlin, known to have been taken from a mosque in Cairo; this is inscribed with the name of the same craftsman as the pedestal under discussion here: Muhammad ibn Sunqur al-Baghdadi. There is also a silver inlaid candlestick currently in the collections of the Islamic Art Museum in Cairo (reg. no. 15080) which bears the name of Sultan al-Nasir ibn Muhammad ibn Qalawun.  \nFurthermore, in Cairo during the Mamluk period there was a *suq* dedicated to the manufacture and sale of inlaid metalwork. The author and historian al-Maqrizi refers to the market in his work *al-Khitat* (1853) as 'the *suq* of the inlay craftsmen' (Suq al-Koftiyin), which was located in a street that in present-day Cairo lies between al-Ghuriyya Street and al-Azhar Street. The market's documented presence further supports the supposition that this piece was crafted in Cairo.","provenance":"Cairo.","obtention":"This piece was transferred from the Bimaristan of Sultan al-Mansur Qalawun to the Museum of Islamic Art. It was one of the first pieces to enter the collections at the time of the inauguration of the Museum in 1903.","bibliography":"Al-Maqrizi, *Al-mawā'iz wa'l-i'tibār bi-dhikr al-khitat wa'l-āthār \\[Exhortations and Contemplation of the Recollection of Plans and Monuments\\],* 2 vols, Cairo, 1853.  \nAl-Pasha, H., et al, *Al-Qāhira,Tārikhuha, Fūnunuha, Āthāruha \\[Cairo: Its History, Arts and Monuments\\],* Cairo, 1970.  \nAllan, J., *Islamic Metalwork: The Nuhad Es-Said Collection,* London, 1982.  \nAtil, E., *Renaissance of Islam: Art of the Mamluks,* Washington D.C., 1987.  \nHamdi, A., et al, *Katalog Ma'rid al-fan al-islāmi fi misr \\[Catalogue of the Islamic Art Exhibition in Egypt\\],* Cairo, 1969.  \nStierlin, H. and Stierlin A., *Splendours of the Islamic World: Mamluk Art in Cairo (1250–1517),* London, New York, 1997.  \nWiet, G., “Les Objets en Cuivre”, in *Catalogue général du Musée arabe,* Cairo, 1932.","linkcatalogs":"IAM_EG_EN_001","author":"Salah Sayour","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["copper.","decorative motif","furnishing","inlay","inscription","openwork","Thuluth","vegetal motif"],"materials":["copper","inlaid with silver and decorated in filigree and openwork."]},"43af2c13-f67f-56c2-8949-67eff891e370":{"name":"Rosewater sprinkler","short_description":"This rosewater sprinkler belongs to a group of brassware that has sculpturally shaped motifs as its most distinctive decorative element.  \nThe most monumental pieces are a group of large candlesticks. But despite their size, they are surpassed by this masterfully executed bottle when it comes to decoration. Ten lions, and six birds were embossed in incredibly high relief and furthermore engraved and punched.","type":"Rossewater sprinkler, metalwork","holder":"The David Collection","dates":"Hegira 2nd half of the 6th century / AD 2nd half of the 12th century","location":"Copenhagen","provenance":"Eastern Iran or Afghanistan","keywords":["animal decoration","Ghurid","metalwork","Rosewater sprinker"],"materials":["and punched brass","embossed","engraved","inlaid with copper and silver"]},"43ffaf04-43ad-5080-a54a-5966af0905ea":{"name":"Rosewater sprinkler","description":"This *mirash* vessel is designed to hold and sprinkle rosewater onto the hands of guests as a sign of hospitality. These vessels come in a variety of shapes and decorations; the people of the Green Mountain in eastern Oman have traditionally pursued this craft for thousands of years, and their goods are known today for their quality and precision in manufacturing.","type":"Metalwork, silver","holder":"The National Museum - Sultanate of Oman","dates":"Hegira 12th–13th/AD 18th–19th century","location":"Muscat, Sultanate of Oman","dimensions":"Height: 24cm, diameter: 7.5cm","provenance":"Northern Oman","author":"Noora Al Balushi","copy_editor":"Alvaro Miranda","materials":["Silver"]},"454aa72c-4842-5951-99f0-ea41163d043f":{"name":"Pen Box","short_description":"The name Muhammad is derived from the Arabic root word *hamada*, meaning \"praise\", and can be translated as the \"Oft - praised One'\". Revealed first to the Prophet's mother Aminah bint Wahb, the name Muhammad appears four times in the Noble Qur'an. It is the most popular name in the world. Articles of jewellery inscribed with the name of the Prophet Muhammad are worn by men and women throughout Oman as an affirmation of the Muslim faith. The inscription of the Prophet's name also extends to architectural use and important personal articles such as scroll containers and pen boxes.","type":"Metal Ware","holder":"National Museum Oman","dates":"Probably 12th century AH / 18th century AD","location":"Muscat","dimensions":"Length: 26.8cm, Width: 6.1cm, Height: 5.5cm, Weight: 906.7g","provenance":"Northern Oman","obtention":"The Museum of Omani Heritage","copy_editor":"Valerie Pulsifer","keywords":["Muhammad","Pen Box"],"materials":["cast","engraved","Quaternary copper alloy"]},"45ccc1b2-62ae-540c-ba7c-d71565ea58c3":{"name":"Palestine Gendarmerie badge","description":"The Palestine Gendarmerie, established on 1 July 1921, consisted of Arabs and Jews under British officers. It consisted of cavalry, camelry and infantry units. Enlistment of recruits was regulated so as to maintain a certain proportion amongst the various sects and religious creeds, which comprised Arabs, Jews, Circassians and Druse. In 1922, the strength of the Palestine Gendarmerie was as follows: 234 Arabs, 157 Jews, 72 Circassians and 27 Druses, of whom 250 were mounted on horses and 50 on camels, the remainder consisting of infantry. The badge was usually seen worn on black kalpak hats. It consists of the British imperial crown leaned on the letters PG, the abbreviation of Palestine Gendarmerie written in capital French script. Two crossed flags in the middle of the letters PG, based on a band that displays the full name of the PALESTINE GENDARMERIE and below the date 1921 written on a small band. The flag in the right side is broken.","type":"Police Badge","holder":"Numismatic Museum (Ahli Bank)","dates":"1921","location":"Amman","provenance":"Palestine","author":"Aida Naghawy","copy_editor":"Daniel de la Vega"},"45d7fcc9-f643-557d-95cc-e24e43e9d3e7":{"name":"Casket with the remains of a combination lock","short_description":"The lid has four dials and pointers, which can still be turned, but the lock mechanism is now missing. The top of the lid bears a medallion of an enthroned prince, while the gabled sides are decorated with musicians or cupbearers. In the medallions in the front of the casket there are mounted figures, a lancer and a falconer. Between them is a standing figure with cross and book rest. The rear panel has a central medallion of a drinking prince with attendants and two figures playing backgammon. This is flanked above by medallions with musicians in small roundels and below by even smaller roundels of more cross-legged seated figures bearing crescent moons. Below these are standing figures bearing attributes of Christian priests or deacons.  \nChristian subjects occur on silver-inlaid brasses from northern Mesopotamia and, later, in Damascus in the 13th century and may include scenes from the life of Christ and of the Virgin. They may have been ordered as liturgical vessels, by or for prominent Christian patrons.","type":"Casket; combination lock; sheet brass; silver inlay","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"AD first half of the 13th century","location":"London","dimensions":"20.5 x 19.5 x 16cm","method_for_datation":"Date and provenance are based on stylistic grounds.","provenance":"Northern Iraq, Jazira","obtention":"Christie’s, London, sale of 10 October 1989, lot 526.","bibliography":"Maddison, F., and E. Savage-Smith, *Science, Tools & Magic*, London: The Nasser D. Khalili Collection of Islamic Art, volume 12, Part Two, 1997: cat.344, pp.390–91.  \nRogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.110, p.100.","keywords":["Ayyubid","backgammon","brass","cast brass","combination lock","Iraq","Jazira","metalwork","musician","silver"],"materials":["brass","sheet and cast","with lavish silver inlay"]},"465db5c8-a589-5652-8907-593491419960":{"name":"Commemorative cup – the Congress of Paris (1856)","description":"According to the peace treaty signed on 30 March 1856 after the Crimean War, Russia had to renounce its protectorate over Wallachia and Moldavia, who apart from the Ottoman suzerainty were put under the guarantee of the Great Powers. The cup, made in France, belonged to Vasile Boerescu, one of Romania’s delegates to the congress. On the six sides of the cup are engraved the coats of arms of the treaty’s signatories (France, Russia, Austria, Great Britain, the Ottoman Empire, Sardinia), above which are the portraits of their delegates, with their names engraved below: A. Walewski and F. Burkene; A.F. Orlov and F.I. Brunnov; H. Buol and I. Gyubner; G. Clarendon and G. Cowley; Ali Pasha and Cemil Bey; C. Cavour and S. Villamarina. On top of the lid there is a small statue of the goddess of Justice.","type":"Cup","holder":"National Museum of Romanian History","dates":"1856","location":"Bucharest"},"476f71b7-f16d-54c8-85e4-ed053fa70b87":{"name":"Pen box","description":"Penbox from Mosul. Acquired by Augustus Wollaston Franks, a curator at the British Museum who played a key role in the building of the Mediaeval collection.","type":"Pen box","holder":"The British Museum","dates":"13th century; acquisition date: 1884","location":"London","provenance":"Iraq"},"48232ccd-b83a-5ed3-a7ae-09f26487f289":{"name":"Large tray (*s’ni*).","description":"The decoration on this circular tray is arranged in concentric bands encircling a rosette with many petals. The first band is adorned with stylised leaves, followed by another band that is wider and engraved with alternating vegetal elements representing the cypress tree, as well as arabesque medallions. A signature in cursive lettering carries the name of the owner, 'sahibihi Al-Hadj Ibrahim (Zaytuna)' and, composed in Indian numerals, the date of the object's fabrication, 1156; which can be translated as: 'its owner al-Hadj Ibrahim (Zaytuna) 1156' (AD 1743). The last letter of the word *sahibihi*, which surrounds the whole of the inscription, ends in the form of a tulip, in imitation of the *tughra* (the signature of the Ottoman sultans). The third band features interweaving foliar ornaments enclosing small rosettes, and the last band features semi-circular arches adorned with flowers.  \nIn former times, the *s'ni* would be placed on a small painted wooden table as a means of serving the different daily meals. It is still used in Algeria.","short_description":"Large circular dish decorated with concentric incised circles around a central rosette with several petals. The decoration in the gaps is mainly plant-based. A signature in cursive characters states the name of the owner and the date when the piece was made.","type":"Metalwork, red copper, kitchenware","holder":"National Museum of Antiquities and Islamic Arts","initial_owner":"Al-Hadj Ibrahim (Zaytuna).","dates":"Hegira 1156 / AD 1743.","location":"Algiers","dimensions":"Width 2.7 cm, diameter 94.2 cm.","method_for_datation":"According to the date on the object.","method_for_provenance":"Algiers was the main manufacturing centre for this type of brassware.","provenance":"Algiers.","bibliography":"*Catalogue descriptif et illustré des principaux ouvrages d'or et d'argent de fabrication algérienne*, Algiers, 1900.  \nEudel, P., *Dictionnaire des bijoux de l'Afrique du Nord, Maroc, Algérie, Tripolitaine*, Paris, 1906.  \nMarçais, G., *Le musée Stéphane Gsell, musée des antiquités et d'art musulman d'Alger*, Algiers, 1950.","author":"Ali Benbella","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["brass","Copper","cypress","food","Tray","vegetal decoration"],"materials":["Hammered and incised red copper."]},"49103ef0-90f2-547a-8043-173577467243":{"name":"Dates group","description":"As a sign of hospitality guests are given *fuala* (light refreshments). Coffee, dates, *betheetha* (a sweet made of dates and fired flour), *khabees* (a sweet made of saffron, ghee and fried flour), leavened bread, and *dibs* (date molasses) were served on a *saroud* (palm mat) and covered with a *mechabeh* (palm food cover) to protect the food from dirt and insects.  \nWhen guest finished eating they were offered a *ghasool* (a bowl of water) or a *maghsal al yad* (pitcher and vessel) to wash their hands. At the end of a visit, guests were perfumed with a *merash* (perfume sprinkler) filled with rose water and other fragrances. Guest were also perfumed with '*oud* incense'.","holder":"Sharjah Heritage Museum","initial_owner":"Sharjah Heritage Museum","dates":"Hegira mid 14th century/AD mid 20th century","location":"Sharjah, United Arab Emirates","obtention":"Purchased","author":"Amanda Snyder","copy_editor":"Judy Harter"},"4931afcb-b7f3-594e-a414-8d124b8fb880":{"name":"Candlestick","short_description":"Bronze candlestick inlaid with copper and silver, with salient rows of ducks and seated lions, and invocations of good wishes to the owner in *kufic* script. It was raised and fabricated from sheet and worked in repousee, engraved and inlaid.","type":"Decorative implements, decorative object","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira late 6th–early 7th century / AD late 12th–early 13th century","location":"Kuwait City","provenance":"East Iranian World","keywords":["calligraphy","engraving","figurative decoration","inlay","inscription","kufic script"]},"497bf626-164c-5939-b612-a56b67948019":{"name":"Pen box","short_description":"This pen box is entirely decorated with small birds and animals in roundels set against dense latticework patterning. The inscription on the case cover denotes that it was made for the Ilkhanid ruler’s vizier, Shams al-Din Juvaini, an important minister, scholar, and poet who used his great wealth to support scientists, philosophers and theologians. This pencase represents a fine example of a luxury object commissioned for a known figure.","type":"Metalwork","holder":"Museum of Islamic Art","dates":"Hegira 7th century  / AD 13th century","location":"Doha","dimensions":"Height: 4 cm; width: 19.8 cm; depth: 4.6 cm","provenance":"West Iran","obtention":"Sotheby's London, Arts of the Islamic World, 30 April 2003, Sale L03220 Lot 68","bibliography":"Al Khemir, Sabiha, *From Cordoba To Samarqand, Masterpieces from the Museum of Islamic Art in Doha*, Milan: Musée du Louvre Editions, 2006.","author":"Tara Desjardins","keywords":["metalwork","Pen Box","Shams al-Din Juvaini"],"materials":["brass","Gold","inlaying","Silver"]},"49a6379f-cd3f-5da3-80ce-ed27270c14f7":{"name":"Bowl","description":"A short metal bowl with thick walls, decorated with incised or hammered circumferential motifs of lines and vegetal or epigraphic ornamentation (including the inscriptions *“Lā ilāha illā Allāh” and “Al-ḥamdu lillāh”*). The surface shows green and blue copper oxidation.  \nThis type of bowl was known in that period as *Ṭāsat al-Ruʿwah* (“The Bowl of Fright”). Before medical prescriptions were written on paper, and before people understood anxiety or shock as they do today, Arab households relied on their faith and ancestral wisdom. In one such home, a small metal vessel — this very bowl — was kept and cherished as *Ṭāsat al-Ruʿwah*. Adorned with delicate engravings and Qur’anic inscriptions encircling it like a protective barrier, it was kept by women on the upper shelf of the family wooden chest, wrapped in white cotton cloth. It was used only in moments when the heart trembled in fear or panic.  \nWhen a family member experienced sudden fright, the bowl would be filled with clean water, or sometimes rosewater, and the inscriptions around it would be recited — not as a magical ritual, but as a reminder that tranquillity comes from God alone, and that the Qur’an was never just letters, but a source of serenity that flowed into the soul, even from a small copper vessel held by trembling hands.","type":"Bowl","holder":"Department of Antiquity","dates":"AD 568 - 922 / AD 1172–1516 AD","location":"Amman","copy_editor":"Judy Harter","keywords":["bowl","Mamluks","water"]},"49b2df90-5908-57b9-bdfe-fdda5ade09fe":{"name":"*Mehmaas* (Coffee roasting stirrer)","description":"*Mehmaas* (Coffee roaster) used to stir roasting coffee beans.  \nCoffee is always served at the beginning of a visit and is repeatedly offered until guests politely signal that they have had enough by rocking their cup from side to side. In order to keep coffee hot and fresh for unexpected guests it goes through many stages. After roasting and grinding the coffee beans the grains are added to boiling water inside a large *dallah* (coffee pot) called a *khamra*. Next, the liquid is poured into a medium-sized coffee pot called a *aljeemah*. At this stage cardamom seeds, saffron and rose water may be added for flavour. From this jug, the coffee is poured into a serving *dallah* referred to as a *mezallah*, where the coffee is refined and filtered. The server must hold the *mezallah* with their left hand and distribute the *fanayeel* (coffee cups) using the right hand. The coffee should fill less than half of the cup.","type":"Stirrer","holder":"Sharjah Heritage Museum","owner":"Sharjah Museums Authority","dates":"Hegira mid 14th century / AD mid 20th century","location":"Sharjah, United Arab Emirates","dimensions":"Length: 490mm, diameter: 35mm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Arabian Peninsula","obtention":"Purchased","author":"Amanda Snyder","copy_editor":"Judy Harter","keywords":["coffee","coffee beans","roaster","stirrer"],"materials":["Iron"]},"4ae45f56-80f0-5f31-82a5-680fa0d249f9":{"name":"Bathroom pot","description":"The top of this semi-open bathroom pot is decorated with a band of perforated floral motifs beneath a rounded rim. A strip of maghrebi calligraphy covers the rest of the pot's surface, reading: \"Wisdom is the crown of the young, which has become a golden blindfold. Honesty is daybreak.\"","type":"Copper","holder":"Musée Public National des Arts et Traditions Populaires","dates":"19th century","location":"Algiers","translator":"Flaminia Baldwin"},"4b67b99b-4bc9-5f80-b3eb-d2fe8c8f1154":{"name":"Fountainhead","short_description":"This animal, a hind or female deer, would once have stood beside a pool or fountain in one of the palaces of Umayyad Spain. A very similar piece, now in the Cordoba Museum, was discovered in the ruins of the caliphal pleasure-palace of Madinat al-Zahra, where the historian al-Maqqari mentions there being a marble basin adorned with fountain heads in the shape of different animals. The decoration on the hind’s body gives the impression that it is covered in a sumptuous, tasselled textile.","type":"Metalwork","holder":"Museum of Islamic Art","dates":"Hegira 4th century / AD 10th century","location":"Doha","dimensions":"Height: 56.4 cm, width: 40.9 cm, depth: 12.4 cm","provenance":"Spain, Cordoba","obtention":"Christie’s London, Islamic Art and Indian Miniatures, 25 April 1997, Sale 5779, Lot 259 to Qatar Museums","bibliography":"Allan, James W., *Metalwork Treasures from the Islamic Courts*, London: The Islamic Art Society, 2002.  \n  \nGonnella, Julia, et al., *Museum of Islamic Art: The Collection*, London: Thames & Hudson, 2022.  \n  \nGonnella, Julia, et al., *Museum of Islamic Art: The Guide* London: Thames & Hudson, 2022.  \n  \nSeipel, Joseph H., *God is Beautiful and Loves Beauty: The Object in Islamic Art and Culture*, New Haven: Yale University Press, 2013.  \n  \nWatson, Oliver, *Museum of Islamic Art, Doha, Qatar*, Munich: Prestel Verlag, 2008.","author":"Tara Desjardins","keywords":["Deer","Fountainhead","metalwork","Spain","Umayyad"],"materials":["Casting","Copper alloy","Engraving"]},"4c547f09-e5de-5249-976c-d3b8e43f3370":{"name":"Two apexes from banners of the Prophet Moses.","description":"A pair of apexes from ceremonial banners widely used in official religious processions that took place at most of the religious sites and shrines in Palestine. Such processions formed an important part of the local cultural history of the region. The banners would carry either the name of the season, the city, village, or the family name of the household whose members were bearing it. The banner bearers would lead the procession. The banners had specific social and religious significance especially in a growing popular consciousness. In some cases, it indicated the high social standing of the family, the importance of the city, or a certain village. The raising of the banner was traditionally restricted to certain religious and social processions, limiting it to the local people, who considered it a form of social prestige.  \nOne of the most famous religious seasons in Palestine was that of the Prophet Moses. This celebration began in the Ayyubid period (beginning of the AH 6th / AD 12th century) and continued to widen and grow. It took place at the end of spring every year coinciding with Easter which was celebrated by the Christian communities in Palestine. Delegations would come to Jerusalem from different parts of Palestine, especially from the cities of Nablus and Hebron. Throngs of people would gather at the Haram al-Sharif with those who were participating in the celebration from Jerusalem. They would march in procession together, with a large and splendid retinue raising flags and banners that were specific to each city, village and important family as well as Sufi *tariqahs* (Sufi Orders). They would finally arrive at the Sanctuary of the Prophet Moses which was located between Jerusalem and Jericho. Here festivities would continue as well as the fulfilment of pledges, for the period of a week or more.  \nThe banner is typical, composed of a cylindrical pole of about 3m. The fabric flag held inscriptions that might be verses from the Qur'an, names of God, supplications, religious expressions, or the names of individuals or places. The two apexes exhibited here are similar in composition: each consisting of a cylindrical base that would fix onto the head of the pole, and a neck that bears a circular ring to support the apex. The circle of the apex includes an inscription of two lines, spaced out in copper, it reads: “God, our Lord”. On top of the circle is the crown of the apex; a spaced rhomboid shape, within which is a solid rhomboid.","short_description":"Banners were used in festivals and processions in Palestine and bore the names of the Prophets, shrines, cities and important families. The most famous shrine was the tomb of the Prophet Moses. Each of this similar pair has a copper crown that would be mounted on the head of a pole. An inscription of two spaced lines states ‘God, Our Lord’.","type":"Cast copper","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","dates":"Hegira 13th century / AD 19th century.","location":"Jerusalem","dimensions":"Height 39 cm, diameter 16 cm.","method_for_datation":"The piece was dated by means of studying its style and shape and looking at the casting technique used to produce it.","method_for_provenance":"It is likely that this piece was made in Jerusalem where such banners were widespread. There are still some families in Jerusalem who make similar pieces.","provenance":"Probably Jerusalem.","obtention":"The piece was transferred at an unknown date, from the Haram al-Sharif to the Islamic Museum.","bibliography":"Tamari, V., “Two Ottoman Ceremonial Banners in Jerusalem”, in S. Auld and R. Hillenbrand (eds), *Ottoman Jerusalem,* London, 2000.","linkcatalogs":"IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Banner: apex","crown","Nabi Musa","pilgrimage"],"materials":["Cast copper."]},"4cebac5d-35e1-528a-8905-bcf72d5a263b":{"name":"Oil lamp","short_description":"This monumental oil lamp consists of two parts, the lower a traditional candlestick and the upper a shaft with a bowl for oil.  \nThe splendidly calligraphed *Thuluth* inscription shows that the lamp was ordered by or for the leader of the Aq Qoyunlu Turkmen, Uzun Hasan, who ruled eastern Anatolia, Iraq, and large parts of Iran in around 1470.","type":"Oil lamp, metalwork","holder":"The David Collection","dates":"Hegira c. 875 / AD 1470s","location":"Copenhagen","provenance":"Western Iran or eastern Turkey","keywords":["calligraphy","inscription","metalwork","oil lamp","Thuluth"],"materials":["Brass inlaid with silver"]},"4d5b7131-33fe-5c5d-8076-ab9568f98e94":{"name":"Iron coffee roaster","alternate_name":"Mehmasah","description":"Circular iron coffee roaster with long handle decorated with zigzag and triangle motifs. Coffee-drinking in a communal setting is an essential part of traditions in Bedouin communities to celebrate or mourn.","type":"Kitchen utilities; metalwork","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"4e024b5f-c870-54a0-abfe-e793ed34deb4":{"name":"Dish.","description":"A flat, circular brass tray with perpendicular walls. Minutely detailed silver inlay covers the base over a hatched ground. This is one of the finest examples of Mahmud al-Kurdi's work, combining intricate detail with a bold overall design. Radiating from a central octagon are pairs of crescents alternating with four oval-shaped medallions. The crescents and medallions float in a dense arabesque design, while even tighter arabesques fill the medallions themselves and the central octagon. A striking effect is created by the crescents that are inlaid with a solid strip of silver against a swirling arabesque background. The signature of Mahmud al-Kurdi appears in the four roundels that sit between the pairs of crescents. Al-Kurdi's work is part of a group of metalwork known as 'Veneto-Saracenic'; a style that is characterised by dense patterning, peculiarly European shapes and which often bears a coat of arms. It is probable that this tray was produced specifically for the European market and that it was for everyday use in a domestic setting.","short_description":"This brass tray is one of the finest examples of the work of master metalworker Mahmud al-Kurdi, with finely detailed inlaid decoration. One of a group of objects known as ‘Veneto-Saracenic’, often featuring dense patterning, and sometimes adapted to European shapes with European coats of arms.","type":"Metalwork, decoration object, silver, brass","holder":"The British Museum.","dates":"Second half of hegira 9th century / AD 15th century.","location":"London, England","dimensions":"Height 3 cm, diameter 29.2 cm.","method_for_datation":"The tendency towards more intricate patterns without figurative decoration is typical of 9th- / 15th-century metalwork in Mamluk Egypt and Syria, and also in Iran.","method_for_provenance":"The provenance of 'Veneto-Saracenic' work is still debated by scholars. In the 19th century it was thought that these pieces were produced in Venice by Muslim craftsmen. However, given the stylistic connections between 'Veneto-Saracenic' and Mamluk inlaid metalwork, it seems more likely that this tray, along with other objects in this style, were made in either Syria or Egypt where there were workshops that produced specific forms to suit the European taste.","provenance":"Egypt or Syria.","obtention":"Bequeathed to the British Museum by John Henderson in 1878.","bibliography":"Auld, S., Renaissance Venice, Islam and Mahmud the Kurd, London, 2004, pp. 219–20, cat. no. 5.1, (reproduced on the front cover).  \n  \nWard, R. Islamic Metalwork, London, 1993, pp.116–7, plate 93.","linkcatalogs":"IAM_EG_EN_001","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["Daily life","geometric decoration","trade"],"materials":["Brass engraved and inlaid with silver."]},"4e0af093-1857-5b9b-90ef-f325bd3f29d4":{"name":"Pearling Scales with their casing","description":"Pearling scales (mizan, pl. muwazin) like these were an essential tool for any pearl merchant as all aspects of a pearl’s physical appearance – its shape, hue, perfection, size and indeed weight - all determined its value and saleability. The scales typically consisted of small hemispherical copper alloy bowls suspended by simple string from a balance. Polished agate or - more rarely - copper alloy weights were used to determine the pearls' weights accurately. In order to prevent the scales from getting damaged, they were carefully stored in a purpose-made copper alloy container. The scales were generally made in India, with one known centre located in Ahmedabad.","type":"Copper alloy and fibre pearling scales with metal and wood casing","holder":"Sharjah Maritime Museum / Sharjah Museums Department","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah","provenance":"Sharjah Emirate","author":"Ulrike Al-Khamis"},"4f197f6e-373b-5299-bc3c-8c7b6db1240e":{"name":"Pair of pistols, a diplomatic present of Sidi Mohammed II, Bey (1855–1859) of Tunis, to Emperor Franz Joseph","description":"This pair of flintlock pistols was ordered by the Bey of Tunis from the French gunsmith Claude Bizouard, who worked in Marseille. This commission showed the growing French influence in Tunisia after the French conquest of Algeria in 1830. In 1857, the Bey of Tunis presented these weapons to Emperor Franz Joseph I.","type":"Arms; firearms","holder":"Kunsthistorisches Museum, Collection of Arms and Armour","dates":"1857","location":"Vienna","provenance":"France/Tunis","copy_editor":"Daniel de la Vega"},"501785a0-9d3d-5517-9bcf-01c3e0ae7519":{"name":"Bowl","short_description":"This bowl has a central high boss and gadrooned sides. Vessels of this shape, harking back to antique libation bowls, were used in the Islamic world in the hammam or as magic bowls. The magic healing properties of this particular bowl are betrayed by the undeciphered symbols on the rim. Qur’anic verses ornament the frieze under the rim and the sides of the boss, while on its flattened top is inscribed, within a six-pointed star, the name of Allah.","type":"Tinned copper","holder":"Benaki Museum","dates":"Hegira 10th-11th century / AD 16th-17th century","location":"Athens","dimensions":"Diameter 18 cm","provenance":"Turkey","keywords":["Magical bowl","Ottoman bath culture","Quranic inscriptions"],"materials":["Tinned copper"]},"5107fe4b-1985-514c-8253-6146fb963e56":{"name":"Incense burner","short_description":"The incense burner has a cylindrical body topped by a half-dome cover partially opened at the front. The lower portion is supported by four feet resembling animal legs and is divided into four panels by pairs of vertical grooves. The dome is also divided into two zones through the same pattern. The decorative repertoire, engraved in the body of the object and perforated in the upper dome to allow smoke to escape features animal figures and benediction inscriptions within vertical cartouches and medallions. It is a decorative style widespread in the medieval Islamic world, particularly in the 11th and 12th centuries.  The object could also be hung, as shown by the elongated ring with a small figure of a bird that stands at its top. The half-dome shape of the incense burner is inspired by architectural models and belongs to a widespread style in eastern Iran from the 10th to the 13th century.  Most of the known incense burners show only three feet. The object presented here is one of the few examples to have four. Using perfumed essences and aromatic substances to perfume rooms and for personal cosmetics is well documented in all Islamic territories during the Middle Ages through written sources and by various objects (burning essences, dispersants for perfumed waters, containers, etc.), made of different materials. Most often used in sovereigns’ palaces or in urban aristocracy residences, these objects were also used in religious buildings, usual in the Christian church. Since the first centuries of the Islamic era, incense became a very important trade branch. Great varieties of oils and perfumed essences, aromatic woods and herbs were available in special markets (Suq al-'Attariyin) in the main cities. Islamic craftsmanship therefore developed a production sector specialised in providing the tools necessary to meet this specific demand. Metal incense burners, in particular, are among the most valuable objects of Islamic artistic production.","type":"Incense burner","holder":"Museum of Civilisations/ Museum of Oriental Art","dates":"Hegira 5th-6th century / AD 11th- 12th century","location":"Rome","dimensions":"Height: 27cm, Diameter: 10.5cm","method_for_datation":"Stylistic-formal analysis","provenance":"Khorasan, Iran/Afghanistan","obtention":"Acquisition from the antique market","bibliography":"Baer, E., *Metalwork in Medieval Islamic Art*, Albany, NY: State University of New York Press, 1983.  \nCanby S. R., \"The Scented World: Incense Burners and Perfume Containers from Spain to Central Asia\", *Arts of Asia*, 42 n. 5 (2012).  \nTorre, P., \"Containers for perfumes and aromas of the Islamic East\", in Paola D'Amore and Serafina Pennestri (eds), *Aromatica. Essenze, profumi e spezie tra Oriente e Occidente*, Rome: Elio de Rosa, 2003. 82-86.  \nDi Flumeri Vatielli , G., \"Metalli\" in P. Torre, G. Di Flumeri Vatielli and M. Jung (eds), *Arte dell'Islam, catalogue Museo Nazionale d'Arte Orientale*, Rome: Artemide, 2010: 35-48, fig. 40.  \nScerrato U., *Metalli islamici*, Milan: Fabbri, 1966.","author":"Francesca M. Anzelmo","copy_editor":"Liz Cooper","materials":["Bronze","carving and fretwork decoration"]},"52262e70-2860-5b5b-8fff-109c9c07916c":{"name":"Janissary water jug","description":"The pitcher is copper, coated with tin, and bears Janissary symbols.  \nIt is inscribed in Ottoman Turkish with the text:  \n  \n*\"Es-SeCenturyid Salih Beşe, sene \\[H.\\] 1232, Bölük 25.”*: \"Es-SeCenturyid Salih Beşe, Year \\[AH\\] 1232, Regiment 25.\"  \n  \nAdditionally, the body is decorated in engraved workmanship with stylised motifs of a naval anchor and a fish, symbolising maritime affiliation.  \n  \nThis pitcher was owned by Agha (commander) of the 25th Janissary Regiment.","type":"Jug","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira early 13th century / AD early 19th century","location":"Istanbul","dimensions":"Diameter: 10cm, height: 14cm","place_of_production":"Istanbul","method_for_datation":"Determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","method_for_provenance":"Determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["Anchor","Copper","fish","Janissary","Jug","Maritime","Ocean.","Ottoman","Turkish","water"],"materials":["copper"]},"5250886a-a6a0-5674-9156-a5f133b9cfe8":{"name":"Kerosene lamp","alternate_name":"Hanging street lamp","description":"A cylindrical container filled with gas and injected with air heats a group of emerging pipes from the cylinder, which are surrounded by glass to shield them from air and assist in hashing its light into place. Kerosene lamps were used to light the streets of Amman until the first electricity generator began to operate. The beginning of the 20th century marked the re-urbanisation of Amman after 500 years of abandonment.","type":"Lightning device; metalwork","holder":"Jordan Folklore Museum, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"5299e826-d267-599e-9d71-1fe496e28bdf":{"name":"Incense Burner","short_description":"This hollow cast incense burner in the shape of a bird has an opening in its chest. The decoration consists of engraving and openwork. A weld seam is visible on the lower stomach surface which could suggest that it consisted of two halves.  \nThe head has engraved feathers. A *kufic*\\-inscription on tendril ground marks the transitional area leading towards the shoulders. The quadratic opening of the chest concludes with an interwoven band. The wings are decorated with perforated scroll ornaments. Between them lies another interwoven band. The wingtips have a drop motif. The underside is left blank.  \nThe characteristics of this object are the fully perforated wings and the inscription. It has, in contrast to other incense burners, a raised gaze.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 5-7th century / AD 11th-13th century","location":"Bamberg","dimensions":"Height: 18.2cm, Width: 8.9cm, Weight: 0.35kg","method_for_datation":"Based on a stylistic analysis of its motifs and similarities to objects of other collections.","provenance":"Persian world","obtention":"Purchased from Marko Pollo Ltd. London in 2012","bibliography":"Allan, J.W., *The Metalworking Industry in Iran in the early Islamic Period*, Oxford: Faculty of Oriental Studies, 1976: 310-315.  \nGeza Fehérvári, *Islamic metalwork of the eighth to the fifteenth century in the Keir Collection*, London: Faber and Faber, 1976: Plate 37c.","author":"Anita Mangalath","copy_editor":"Daniel de la Vega","keywords":["Afghanistan","animal","bird","bronze","Incense burner","Inlaid metalwork","inscription","Iran","Iranian world","metalwork","Persian world"],"materials":["Bronze","cast","engraved","perforated"]},"5324dbc0-0df0-5cfd-ace1-073538de50bd":{"name":"Copper alloy oil lamp","short_description":"At first sight this peculiar vessel, which was cast and enhanced with incised ornamentation, looks like a ewer. However, judging by surviving, contemporary epigraphic and pictorial evidence, it most probably served as a reading lamp, its bulbous body designed to provide oil for a long period of uninterrupted light, its spout to hold the wick.","type":"Metalwork","holder":"Sharjah Museum of Islamic Civilisation","dates":"Hegira 4th – 6th century / AD 10th – 12th century","location":"Sharjah","provenance":"Northeastern Iran or Transoxiana","keywords":["Copper","metalwork","oil lamp"]},"53cfa936-38e2-5b23-a6c4-d57b4297fc81":{"name":"Peacock-shaped incense burner","description":"This peacock-shaped object, an incense burner (*mabkhara* or *majmar* in Arabic, *ud-suz* in Persian), is a stunning example of medieval Islamic artistry. It belongs to a common tradition of incense burners shaped like falcons, peacocks, and cockerels from Iraq and Iran, with examples dating back to the 9th century in the FBQ Museum collection. The artist ingeniously adapted anatomical elements to accommodate incense burning, concealing the incense chamber within the bird’s belly. The removable upper part facilitated the placement of coal and incense, while open metalwork allowed the release of scented smoke. The elongated tail served to disperse the fragrance. Crafted from bronze, this incense burner showcases exquisite inlay work with turquoise beads, adding to its aesthetic allure. The intricate details and figurative scenes were likely achieved through engraving and embossing.  \nDespite its ornamental appearance, the incense burner is adorned with engraved animal-like imagery, figurative scenes, and turquoise bead embellishments. These beads, characteristic of Khorasan origin, enhance its decorative appeal, adding a touch of colour and vibrancy. The handle-less design and heat-sensitive turquoise beads suggest it might have been used as a pomander in ceremonies or palaces. In this role it would have held a mixture of ambergris and spices to produce an exotic fragrance. The unprofessional welding on the movable part suggests it might have become dysfunctional and been repurposed as a purely decorative item.","type":"Metalwork","holder":"Sheikh Faisal Bin Qassim Al Thani Museum","owner":"His Excellency Sheikh Faisal Bin Qassim Al Thani","dates":"Hegira 11th century / AD 17th century","location":"Doha, Qatar","dimensions":"Height: 63cm, length: 26cm, width: 32cm","place_of_production":"Iran, Khorasan province","provenance":"Iran","author":"Mahmoud Saber","copy_editor":"Judy Harter","materials":["Bronze","embossing","Engraving","inlay","metal","turquoise"]},"53de341b-560c-5d23-b886-5d480f725f2c":{"name":"Seal of the Dome of the Rock.","description":"A circular seal made of copper with incised lines that demarcate a square, the corners of which are cut along the circumference of the piece. In the middle of the seal there is a horizontal depiction of the Dome of the Rock, octagonal in form, and in the middle of which is a circle. Portrayed within the circle is what is considered to be the footprint of the Prophet Muhammad, and inscribed below it the words: “Foot of the Prophet”.On top of the carving designated as the footprint of the Prophet, is the Dome of the Rock crowned by a crescent. Within the circle on each side of the Dome building, there is a tree resembling a palm. It is not known whether the two palms have symbolic meaning, perhaps they were drawn simply to fill empty space. Between the middle circle and the octagon there are eight arched niches, designating the interior octagon of the Dome of the Rock. Above the upper side of the octagonal is the façade of the Dome of the Rock, composed of the drum and the dome, and topped by a relatively large crescent. The horizontal depiction of the Dome of the Rock and the Dome's façade is surrounded on three sides by buildings; three portrayals of arcades appear, again surrounding the Dome of the Rock. These are likely to be depictions of: the southern arcade, which opens out in the direction of al-Aqsa Mosque; the south-western arcade, which opens out in the direction of the Bab al-Silsila (Gate of Chains) and the eastern arcade, which opens out in the direction of Bab al-Rahma (Gate of Mercy). The northern arcade, however, hidden by the portrayal of the Dome and its crescent, does not appear. The names of the buildings appear beside the illustrations of them, including the Dome of the Rock and the names of its four gates: Bab al-Janna (The Gate of Heaven), Bab al-Salaam (The Gate of Peace), Bab al-Sakhra (Dome of the Rock Gate), and Bab al-Mizan (the Balance Gate). Similar captions appear beside the illustrations of the Dome of the Mi'raj, the Minbar al-Sharif (Minbar of Burhan al-Din), Qubbat al-Arwah (Dome of the Spirits) and Qubbat al-Silsila (Dome of the Chain). Depicted on the eastern side of the Dome of the Rock is an illustration of a plant that resembles a flower, which is not present to the east of the Dome of the Rock. Historically, there was a dearth of plants in the surrounding environs of the building.  \nIt is possible that the seal was used as authorisation to enter the Dome of the Rock. Or perhaps, it was used to seal the papers of visitors who hoped to be blessed by such an image, or to commemorate their visit to the Dome of the Rock. It might also have been used as some form of shorthand guidebook for the visit.","short_description":"This is a circular copper panel in the middle of which is a layout of the Dome of the Rock. It also shows the surrounding buildings and the staircases which lead to the plaza of the Dome.  It might have been used as authorisation to enter the Dome or perhaps to seal papers of visitors to take home as a blessing or as a souvenir of their visit.","type":"Copper, engraving","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Islamic *Awqaf* (Endowments), Jerusalem.","dates":"Hegira 13th century / AD 19th century.","location":"Jerusalem","dimensions":"Diameter 16 cm.","method_for_datation":"The piece was dated based on a comparison with another seal which bears the names of holy places in Palestine and the date of which has been narrowed down to the 13th / 19th century.","method_for_provenance":"Jerusalem was narrowed down as the place of production for the seal; the images on it were probably implemented in the area.","provenance":"Jerusalem.","obtention":"The piece was transferred at an unknown date from the Haram al-Sharif to the Islamic Museum.","linkcatalogs":"IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Copper","engraving","seal"],"materials":["Engraved copper."]},"53e8326b-0e17-5ddf-979b-47c8bb8ffcd0":{"name":"*Marash* (Rosewater sprinkler)","description":"*Marash* (rosewater sprinkler) holds rosewater and is offered to a guest to perfume and cleanse their hands.","type":"Sprinkler","holder":"Sharjah Heritage Museum","owner":"Sharjah Museums Authority","dates":"Hegira mid 14th century / AD mid 20th century","location":"Sharjah, United Arab Emirates","dimensions":"Height: 280mm, Diameter: 70mm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Arabian Peninsula","obtention":"Purchased","author":"Amanda Snyder","copy_editor":"Judy Harter","keywords":["copper alloy","rosewater","sprinkler"],"materials":["Copper alloy"]},"5451b48d-8d64-533c-b7e9-be06d8f670ea":{"name":"Water Carrier’s Portable Water Jug","description":"This large ovoid ewer consists of a metal top and ceramic base. From the hemispherical shoulder rises a tall, waisted cylindrical neck with central collar. The mouth is covered by a bulbous, domical lid. The ewer has a strong, angular handle of roughly square section and a tall, obliquely rising body spout, which is connected to the neck by a curved tube and tapers towards the prominent, slightly waisted mouth section. The entire upper part of the ewer is decorated with incised horizontal bands of plaiting, abstract floral decoration, pseudo-inscriptions and running animals. The spout shows a dense system of punched, arched lines and incised decorative bands near its base. The undecorated ceramic base of the ewer is secured by netting created from fibre ropes. Thicker ropes of the same material, probably used for carrying the ewer, are attached. A ewer identical to this one appears in Ludwig Deutsch’s painting of the Al-Azhar mosque (SH_66).","type":"Copper alloy and ceramic water ewer with fibre rope netting","holder":"Sharjah Museum of Islamic Civilisation / Sharjah Museums Department","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah","provenance":"Egypt or Near East","author":"Ulrike Al-Khamis"},"545d3cb5-4705-56b4-ba74-149c90a246ac":{"name":"Candlestick","short_description":"The candlestick with its bell-shaped, concave profile is indicative of the high standard of metalworking reached by Islamic craftsmen. The decoration, embellished by silver damascening, consists of 11 figures in different poses holding various instruments representing seasonal tasks.","type":"Metalwork","holder":"MAO Museum of Oriental Art","dates":"Hegira 7th century / AD 13th century","location":"Turin","dimensions":"Height 19.5 cm, diameter max 19.5 cm","provenance":"Anatolia","keywords":["Candlestick","damascened"],"materials":["Engraved and damascened bronze"]},"54e3a0d3-6ecd-5314-a088-45db5e7956cd":{"name":"Pen box.","description":"A rectangular brass pen box with hinged lid and interior compartments, decorated both inside and out with silver and gold inlay. Around the outside a series of medallions alternate with inscriptions; both are surrounded by arabesque scrolls. A radial inscription inside the lid includes the titles of an anonymous amir. On either side of this central epigraphic roundel are two more medallions filled with lotus flowers. Lotus flowers and peonies, derived from Chinese art in the form of chinoiserie, appear in Mamluk decorative arts during the AH 8th / AD 14th century. Chinese motifs were imported to Egypt and Syria by the Mongols in Iran; the influence is also evident in Iranian art of the same period. Like much of the Mamluk metalwork of this period, figurative representation is absent; the decoration comprising calligraphy, together with floral and geometric designs. Pens would have been kept in the larger compartment while the smaller containers at one end were for ink, sand (for blotting ink) and threads (for cleaning the reed-pens).","short_description":"A brass pen box with compartments to store pens, ink, sand and threads. Typical of Mamluk metalwork from the AH 8th / AD 14th century, this object is devoid of figures and is instead covered in calligraphy with floral and geometric decoration.","type":"Metalwork, decoration object, silver","holder":"The British Museum.","dates":"Hegira mid-8th century/ AD mid-14th century.","location":"London, England","dimensions":"Length 30.7 cm.","method_for_datation":"By the mid-8th/14th century most Mamluk metalwork was decorated with epigraphy, rather than with figures; this pen box features calligraphic panels with floral and geometric designs. The presence of lotus flowers and peonies also points to the mid-8th / 14th century when these decorative elements became more commonplace in Mamluk art. For example, peonies can also be found on a series of mosque lamps dating to this period.","method_for_provenance":"Stylistically this pen box relates to other inlaid metalwork objects produced in the Mamluk domains of Egypt of Syria. Moreover, the name of an anonymous Mamluk amir is inscribed on this object.","provenance":"Egypt or Syria.","obtention":"Bequeathed to the British Museum by William Burges in 1881.","bibliography":"Ward, R., Islamic Metalwork, London, 1993, pp.111–3, fig. 85.","linkcatalogs":"IAM_EG_EN_001","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["arabesque","calligraphy","Chinese influence","Chinese motifs","floral decoration","geometric decoration"],"materials":["Brass inlaid with silver and gold."]},"54e4dfd7-48fc-5972-94f5-cea81c315201":{"name":"Bowl.","description":"Wide-mouthed bowl with a slightly convex base. As in the majority of examples of this type of object, the decoration, which covers the whole of the outer surface, consists of a wide band, interrupted by medallions, made up of a series of scrolls bearing inscriptions in Mamluk cursive characters known as *thuluth*. The underside decoration includes typical motifs, such as phoenixes in flight and peonies, peculiar to Mamluk metalwork, revealing the influence of Far Eastern naturalism tempered by its Iranian background.  \n  \nThe inscriptions, which offer a typical example of the titles used in Mamluk protocol for objects intended for high-ranking persons, include \"*al-maqarr*…*al-âli*\" (High Excellency), \"*al-mawlawî*\"(the Master), \"*al-mâlikî*\" (the Sovereign), \"*al-âdilî*\" (the Just), \"*al-amîri*\" (the Amir) and \"*al-mâmâlk*\" (the Mamluk). The bowl probably belonged to an unknown high-ranking official of the sovereign’s court, who is referred to in one of the inscriptions.  \n  \nThe bottom of the inside of the bowl bears a particularly interesting motif made up of a series of fish in a whirlpool pattern. This is a very common decorative element in Islamic metalwork, particularly during the Mamluk period. The fish motif, as well as being obviously linked to the intended use of the piece (to hold water), probably also holds a special magical or symbolic significance as fish are bearers of good omens in the East and specifically in this case for the owner of the piece.","short_description":"This bowl, used for holding water and decorated with inscriptions and zoomorphic motifs (fish and phoenixes in flight), is a good example of calligraphy being used for decoration and as a good omen in the Muslim world.","type":"Bowl, metalwork","holder":"Museum of Civilisations | Museum of Oriental Art “Giuseppe Tucci”","dates":"Hegira 8th century / AD 14th century.","location":"Rome","dimensions":"Diameter 20cm.","method_for_datation":"This type of Islamic metalwork was quite widespread in the 8th / 14th century.","method_for_provenance":"This type of bowl is widespread in the Iranian as well as the Syrian/Egyptian spheres of influence.","provenance":"Egypt or Syria.","obtention":"Purchase.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks*, Washington, 1981.  \nBaer, E., “Fish-pond Ornaments on Persian and Mamluk Metal Vessels”, *Bulletin of the School of Oriental and African Studies* 31, 1968, pp.14–27.  \nSafadi, Y. H., *Islamic Calligraphy*, London, 1979.  \nScerrato, U., *Metalli Islamici*, Milan, 1966.  \nTorre, P., “Metalli Islamici”, *Museo Poldi Pezzoli: Tessuti-Scultura-Metalli Islamici*, Milan, 1987, pp.273–304.","linkcatalogs":"IAM_EG_EN_001","author":"Paola Torre","copy_editor":"Pier Paolo Racioppi","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["animal decoration","bowl","brass","calligraphy","imaginary animal","inlay","Mamluk art","nashki","Phoenix","zoomorphic imagery"],"materials":["Brass inlaid with gold and silver."]},"55519584-25f8-5377-bd87-8e67cbc0dc2c":{"name":"Matchlock gun","description":"19th century Matchlock gun.","type":"Arms; firearms","holder":"Weaponry Museum","dates":"19th century","location":"Doha"},"55d49521-1b28-5354-afd2-875a445cde61":{"name":"Fly Whisk","short_description":"This conical, tubular object is made of a cast copper alloy. It combines various metalworking techniques. Engraved bands with copper and silver inlaid inscriptions mark off the top and the bottom end. The *naskhi* script has elongated ends bearing faces engraved into the silver inlay. Openwork characterizes the main section of the shaft. Representations of 12 animals arranged in four rows of three animals of a kind on a background of scroll tendrils. The bottom is surrounded by the representation of a sitting dove in profile. On the next level we see a griffin, followed by a flying falcon, topped by a hunting animal, probably a cheetah attacking an ibex. Apart from the griffin, which can be interpreted as a symbol of sovereignty, the animals belong to the sphere of the royal hunt and courtly pastimes.  \nThe fragile openwork design also suggests that the object was not meant to be handled with physical force but rather served as a ceremonial device. The conical shape is suitable to hold a bundle of peacock or ostrich feathers and to serve as a handle for a fly whisk. Apart from their practical use, fly whisks belonged to the iconography of the kings of ancient Persia, as shown on reliefs of the palace of Xerxes in Persepolis. Throughout Islamic times, flabella were used in royal ceremonial rites. Here, especially during official ceremonies, an attendant was standing behind the ruler to fan fresh air and keep flies away.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 6th century / AD 12th century","location":"Bamberg","dimensions":"Height: 347mm, Diameter bottom: 19mm, Diameter top: 5.7mm","method_for_datation":"The casting technique with openwork is typical of eleventh- to twelfth-century bronzes from Khorasan, such as incense-burner, lampstands and oil lamps.","method_for_provenance":"The design of the epigraphic bands shows characteristic features of Khurasanian metalwork.","provenance":"Khurasan","obtention":"Purchased from Ibrahimi, Hamburg in 2008","bibliography":"Korn, Lorenz, “A Tubular Bronze Object from Eastern Iran”, in V. Porter and M. Rosser-Owen (eds), *Metalwork and Material Culture in the Islamic World: Art, Craft and Text*, Essays presented to James W. Allan, London: I.B. Tauris, 2012: 143-154.","author":"Verena Daiber","copy_editor":"Daniel de la Vega","keywords":["Ceremonial device","metalwork"],"materials":["Bronze caste","engraved","inlaid","openwork"]},"55ec1f26-ba55-52bc-a1b6-556c48ff41e4":{"name":"A bronze Greek cross.","description":"The Christian cross is a familiar religious symbol. Its significance lies in the belief that the governor of Judea executed Jesus Christ on a large wooden cross. The cross was the first of the instruments of the passion that came to be venerated in the form of a relic.  \n  \nThis bronze cross is of Greek form, decorated with concentric incised circles on each arm and on both faces of the cross. Two of three iron nails are still preserved on the vertical arm while the third, at the bottom, is missing.  \n  \nIt seems that this cross was nailed to a wooden box as a reliquary in the Church of St Stephen at Umm al-Rasas. The upper part of the vertical arm is broken into two pieces and has been mended recently.  \n  \nThe importance of this cross is linked to its discovery at the Church of St Stephen, which was paved with mosaic floors in AH 138 / AD 756, according to the dedicatory inscriptions on either side of the altar. The inscription is significant because it indicates that there was an active Christian community present at Umm al-Rasas six years after the end of the Umayyad period and after more than a century of Islamic rule in the region.","short_description":"A bronze cross of Greek form from the Church of St Stephen at Umm al-Rasas, decorated on both faces. This cross was probably nailed to a wooden box by three iron nails, two of which are still preserved on the vertical arm.","type":"Cross, Greek, metalwork","holder":"Madaba Archaeological Museum.","dates":"Hegira, first third of the 2nd century / AD first half of the 8th century.","location":"Madaba","dimensions":"Height 8 cm, width 6 cm.","method_for_datation":"The cross was dated by a dedicatory inscription discovered at the Church of St Stephen.","method_for_provenance":"The cross was discovered at Umm al-Rasas during archaeological excavations but where it was originally manufactured is uncertain.","provenance":"Unknown.","obtention":"The cross was acquired by the Museum as a result of an archaeological excavation carried out at Umm al-Rasas by the Studium Biblicum Franciscanum, on-going since 1986.","bibliography":"Desreumaux, A., et Humbert, J. B., *Khirbet es-Samara. Contribution à l'épigraphie syro-palestinienne*, Annual of the Department of Antiquities of Jordan XXV, 1981, p.50, type Ec, Pl. XVI.  \n  \nPiccirillo, M., and Alliata, E., *Umm al-Rasas Mayfa'ah I: Gli scavi del complesso ecclesiastico di Santo Stefano*, Jerusalem, 1993.","linkcatalogs":"IAM_JO_EN_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","keywords":["bronze","Christian community","Cross","Dedicatory inscription","Greek form","incised","religious object","religious symbol"],"materials":["Cast bronze."]},"55fc5107-27bd-5be8-8051-2257dd0d3ecc":{"name":"Incense-burner or hand-warmer.","description":"This incense-burner is decorated with courtly scenes across its pierced surface, such as were found in Mosul as early as 1220. The object’s upper part features six figures cast as medallions: a lord on a throne holding a glass of wine, a riding falconer, a lion hunter and three cross-legged musicians holding a tambourine, a flute and a lute. The slightly flattened hemisphere features a sun with concentric rays. Corresponding themes decorate the lower part. Two rows of animals run round the circumference. While the gold forms the undecorated filling of free spaces, the silver inlay is the medium in which the very detailed representations of clothes, hairstyles, animal bodies and floral elements are depicted. The medallions are set in a background composed of symmetrical arabesques.  \nThe fact that the featured personages are depicted with a type of nimbus behind their heads does not signify that they are saints; rather it is a device to make them stand out more. It is believed that the person who commissioned the creation of this piece was of royal or aristocratic lineage, like the patron of the incense-burner in the British Museum in London, who has been identified through an inscription. Syria was extremely prosperous during this period. Pieces such as this incense-burner probably came from Damascus, following the steep decline of production in Mosul after the death of its leader Badr ad-Din Lu’lu’ in 1233. Mongols attacked Damascus in 1260 and in 1300. It is thought that this piece was created in the period between those years.  \nThe inner mechanism consists of a small brass hanging bowl in which the incense was burnt. Suspended in the centre of two concentric rings, connected in a way that keeps them mobile, the bowl remains horizontal. It is assumed that the techniques for constructing this burner were well known in the Islamic East in the AH 7th / AD 13th century. We know of a floating compass that remains constantly horizontal, described by the Yemeni leader al-Malik al-Ashraf in AH 690 / AD 1291, and of the period’s technically complex water-clock of around 1230. The suspending mechanism, known as a gimbal, was ultimately referred to in the Western world as the ‘Cardanic suspension’ after the Milanese inventor Girolamo Cardano (1501–76).  \nAn incense-burner such as this one testifies to the high quality of life enjoyed at the time. It is also thought that such incense-burners were used as hand-warming devices in courtly circles.","short_description":"Precious-metal spherical incense-burners were fashionable luxury objects in eastern Mediterranean courts around 1290. They were made of two halves so that they could be opened to put aromatic substances on a charcoal fire in an inner cup to produce perfumed smoke.","type":"Incense-burner, hand-warmer, metakwork","holder":"Museum of Islamic Art at the Pergamon Museum","owner":"Museum of Indian Art, Berlin.","dates":"Hegira third quarter of 7th century / AD third quarter of 13th century.","location":"Berlin","dimensions":"Diameter 15 cm.","method_for_datation":"Similar incense-burners were made in Syria in the 7th / 13th century during the Ayyubid and Mamluk periods. This incense-burner bears a very close resemblance to these.","method_for_provenance":"It is very likely that Syria is the country of origin, due to its similarity to incense-burners made in Syria.","provenance":"Syria, possibly Damascus.","obtention":"Long-term loan from the Museum of Indian Art, Berlin.","bibliography":"Barrett, D., *Islamic Metalwork in the British Museum*, London, 1949, no. 22, XV.  \nHale, J. R., *A Concise Encyclopaedia of the Italian Renaissance*, London, 1981, pp.69–70.  \n*Museum für Islamische Kunst*, Mainz, 2001, pp.74–5.  \nSezgin, F., *Wissenschaft und Technik im Islam*, Vol. 3, Frankfurt on Main, 2003, pp.58–9.","author":"Annette Hagedorn","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Cardanic suspension","incense-burner","inlay"],"materials":["Bronze","gold and silver inlay."]},"564aae8a-774b-5338-a643-bbb087c1fa49":{"name":"Tray (*sinija*)","description":"A large, brass tray – *sinija* (Tr. *sini*) – of circular form, with raised sides, intended to be placed on a low wooden stand to serve as a table for food and beverages. The whole surface is decorated with intricate compositions of engraved ornaments and calligraphy. The small central medallion is filled with an ornament inspired by Rumi. Around it, there is a radial Arabic inscription with the year 1129 (Mamluk *thuluth* script) within a broader band, combined with flowers and leaves. The next frieze is filled with a complicated pattern made of interlaced palmettes and flowers.  \nInscription: ...كونوا أهل خير، تفضلوا، كلوا، واشربوا (Be good people, come \\[please\\], eat and drink...).","type":"Tableware","holder":"Museum of Applied Art","dates":"Hegira 1129 / AD 1716","location":"Belgrade","dimensions":"Diameter: 670mm, weight: 3480g","place_of_production":"Ottoman Empire, possibly Syria","method_for_datation":"By stylistic and comparative analysis with related material.","obtention":"Purchased in 1951.","bibliography":"Karamehmedović, M. A., *Umjetnička obrada metala*, Sarajevo: Veselin Masleša, 1980: 188–190.","author":"Mila Gajić","translator":"Alaa El-Din Daoud","keywords":["brass","ottoman empire","sinija","Tableware","Tray"],"materials":["brass","Engraving","hammering"]},"56be57e8-2f07-5969-a236-a5ddc30a31cd":{"name":"Lamp.","description":"Bronze lamp consisting of various elements supported by a central rod. First, four spherical parts arranged in ascending order of size with a central fretwork border and *naskhi* inscription. Next, an eight-sided prismatic element with vegetal fretwork decoration. The lamp is completed by a truncated pyramid in the shape of a four-sided bell, decorated with plant motifs and two inscribed cartouches, one at the top and one at the bottom, with the emblem of Muhammad III: 'There is no conqueror but God. The Most Exalted'. There is another inscription in the bronze on the border, with a series and blessings and titles, as well as the date of manufacture.  \nThere is a convincing hypothesis as to the placement of the holders for the lights: the lamp arrived at the Museum with its hinged arms badly damaged; these arms would open out around the truncated pyramid section into a circle, some of which has survived. There were two arms per side, making a total of 16 arms and between 48 and 64 glasses that produced light without being obscured by the body of the object.  \nWe know that the Royal Alhambra Mosque was constructed at the behest of Muhammad III, and therefore the lamp would have hung in the central nave before the *mihrab* (prayer niche), the appropriate place for an object bearing the sovereign's emblem. It is logical to assume that the founding sovereign would have also provided the fixtures.","short_description":"A masterpiece of Andalusian metalwork for the exquisite fretwork decoration on the body, this lamp was commissioned by Muhammad III for the mosque in the Alhambra, according to its inscription. The body still bears the hooks for the arms that would have held the glass bowls for the lights.","type":"Lamp, metalwork","holder":"National Archaeological Museum.","initial_owner":"Following the conquest of Granada in AH 898 / AD 1492, the lamp was removed from its fixing and taken to Oran. Eventually it became part of the collection of Cardinal Cisneros, who deposited it with San Ildefonso College in Alcala de Henares, from where it passed to the University.","dates":"Hegira 705 / AD 1305.","location":"Madrid","dimensions":"Total height 230 cm, height of truncated pyramid 54 cm, diameter 79 cm.","method_for_datation":"The lower edge of the lamp bears a *naskhi* inscription with the year 705 / 1305.","method_for_provenance":"Despite the damage to the lower part of the lamp, the titles that appear in the inscription around the edge allow us to attribute it to Muhammad III (r. 702–9 / 1302–9), who would have commissioned it for the Alhambra mosque.","provenance":"Mosque of the Alhambra, Granada, Spain.","obtention":"The piece was assigned to the National Archaeological Museum as part of the organisation of the State collection on 20 March 1868.","bibliography":"Amador de los Ríos, R., “Lámpara de Abu 'Abdil-lah Mohammad III de Granada, Apellidada Vulgarmente Lámpara de Orán, y Custodiada Hoy en el Museo Arqueológico Nacional”, *Museo Español de Antigüedades*,Vol. II, Madrid, 1876, pp.466–91.  \nFernández Puertas, A., “Tipología de Lámparas de Bronce de al-Andalus y el Magreb”, in *Miscelánea de Estudios árabes y Hebraicos. Sección árabe-Islam*, 48, Granada, 1999, pp.379–92.  \nLévi-Provençal, E., *Inscriptions Arabes d'Espagne*, Paris, 1931, p.185, no. 192.  \nZozaya, J., “Lámpara”, in *Arte Islámico en Granada. Propuesta para un Museo de la Alhambra*,Granada, 1995, p.434, no. 187.","author":"Ángela Franco","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["Alhambra","bronze","Cisneros","Granada","Lamp","Mosque","Mosque interior decoration","naskhi","religious object"],"materials":["Bronze","casting."]},"56ca4b0e-6b96-51e1-9a41-815aad91e661":{"name":"Geomantic instrument","description":"Geomantic instrument. Signed by the craftsman Muhammad b.Khutlukh al-Mawsili. Acquired by Augustus Wollaston Franks, a curator at the British Museum who played a key role in the building of the Mediaeval collection.","type":"Geomantic instrument","holder":"The British Museum","dates":"1241–42; acquisition date: 1888","location":"London","provenance":"Iraq"},"5744051d-d0c3-5168-aa40-d29af0d0c410":{"name":"Communal serving tray (*siniyyah*)","description":"This copper serving tray (*siniyyah*) was made by a family-owned copper and iron workshop located in Bahla souq, al-Dakhiliyah Governorate, and is just one example of the millennia-long tradition of artisinal metalworking in Oman. Its decoration is suitably domestic: the palm motif is a prevalent symbol of hospitality, and its ceremonial importance is manifested in particularly fine workmanship.","type":"Copper work","holder":"The National Museum - Sultanate of Oman","dates":"Hegira mid-to-late 14th/mid-to-late 20th century","location":"Muscat, Sultanate of Oman","dimensions":"Height: 5cm, diameter: 58cm","place_of_production":"Northern Oman","author":"Noora Al Balushi","copy_editor":"Alvaro Miranda","keywords":["Copper","hospitality","Oman","Tray"],"materials":["copper"]},"5747fe8d-4ab0-565c-9e90-6e797f311e64":{"name":"Four guns","description":"These Turkish flintlock pistols were used by the Ottoman soldiers in Lebanon in the 19th century to quash resistance movements. As the Lebanese resistance had no weapons of their own, the fighters frequently ambushed Ottoman soldiers and took their weapons. These pistols are an example of such weaponry, which was taken by the resistance and used against the Ottomans. They have a wooden butt stock, a slightly broken wooden forend and a round barrel. They are made of wood and cast steel.","type":"Military object; metalwork; firearms; arms and armour","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","provenance":"Turkey","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"57be557a-47bc-5821-981e-692bce4611f1":{"name":"Bowl with figural scenes","short_description":"The bowl, probably destined for wine, dates back to the late AD 14th century, the era when Iran became part of the Timurid empire. However, political changes had little impact on the culture and tastes of the Iranian elite. In metalwork the tendency of refined décor and elaborated figural imagery continued. The central tier of the outer walls of the bowl is decorated with scenes of royal auditions and entertainment, alternating with round medallions of a \"paradise\" theme (birds against the background of lush vegetation). The outer side of the bottom is full of various animal images: hares, dogs, swans, sphinxes. The surface features a sparkling play of the finest engraving and inlay with silver and gold. A complicated multi-level drawing is based on perfect mathematical pattern. Particularly noteworthy is the decoration of the bottom inside. In the centre, the sun is surrounded by sea waves, in which the whole kingdom of water creatures dwell: various fish (stingray, swordfish, shark, etc.), turtles, dolphins, waterfowl and even mythical \"sea people”. The shape of the bowl suggests its origin from the workshops of Fars.","type":"Metalwork","holder":"The Khanenko Museum","dates":"AD late 14th century","location":"Kyiv","dimensions":"Height: 11cm, Diameter (rim): 18cm","method_for_datation":"Stylistic analysis by A. Ivanov (examination, 1966, date and origin).","method_for_provenance":"According to the entry in the old Museum Inventory Register (1925-1946).","provenance":"Fars, Iran","obtention":"Purchased by Bohdan and Varvara Khanenko. Donated by Varvara Khanenko in 1918, nationalized by Bolshevik regime in 1919.","bibliography":"Bilenko, H. and Rudyck (Rudyk), H., *Oriental Collection*, guidebook, Kyiv: The Khanenko Museum, 2005.  \nMelikian-Chirvani, A. S., *Le bronze iranien*, Paris: Musée des arts decoratifs, 1973.  \nRudyk, H. (ed), *Charisma of Iran. Persian art of 12th–19th centuries from museum collections of Ukraine*, Kyiv: The Khanenko Museum, 2017.  \nVyazmitina, M. (ed), *Mystetstvo krain islamu (Art from Islamic Countries)*, catalogue, VUAN Museum of Art, Kyiv: All-Ukrainian Academy of Sciences, 1930.  \nWard, R., *Islamic Metalwork*, London: British Museum Press, 1993.","author":"Antonina Makarevych","copy_editor":"Janice Medina","keywords":["bowl","copper alloy","gold and silver inlay","Iran","metalwork","Timurid"],"materials":["Copper alloy","embossed","engraved","hammered","inlaid with gold and silver"]},"582735bb-91b8-5a1b-b50e-a4d74176b7d7":{"name":"Knife","description":"The surface of this silver-plated bronze knife is covered in beautiful engravings, and the handle is decorated with floral motifs. Various coats of arms are engraved on the blade, along with a stylised ship with an Arabic inscription on the other side. The handle is 65 cm long and the blade is 21 cm long.","type":"Ironwork; weaponry","holder":"Palais de la Rose – Musée de l’Armée","dates":"19th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"582a237b-27f7-5d01-9b51-c2c6abbdd759":{"name":"Metal plate from India","short_description":"The object is a metal plate from India portraying Jahangir Shah, the fourth Mughal emperor of India, and his wife, Nur Jahan. Against a black metal background, Jahangir wears traditional Mughal courtier clothes decorated with gold bands and is armed with a long sword at his waist. He holds his last and most favourite wife, whom he married in 1611.  He gazes at her, and the expression of his face in profile, along with his hand on her arm, clearly represents his admiration for the Empress. The empress is armed with a dagger on her hip, decorated with a golden head of a lion. She holds a fan in her right hand, engraved with her title in gold. In her left hand, she holds a pipe, connected to the hookah on the other side of Jahangir. At the top, the metal plate is engraved with the Persian words, \"Lady Nur Jahan and the Emperor Jahangir.\" It is remarkable that Nur Jahan is mentioned prior to the Emperor.","type":"Metalwork","holder":"MKG Museum for Applied Arts","dates":"Hegira 977-1036 / AD 1569-1627","location":"Hamburg","dimensions":"Height: 122cm, Width: 80cm","method_for_datation":"Dated through the inscription.","method_for_provenance":"Unknown.","provenance":"India","obtention":"Catalogued in 2019.","copy_editor":"Caitlin Link","keywords":["Jahangir","Mughal","Nur Jahan"],"materials":["Bronze"]},"5830662b-6f93-5e08-826b-c8179eb39b3c":{"name":"Crescent from the Dome of the Rock.","description":"A large copper crescent moon that once crowned the dome on the Dome of the Rock, removed in AH 1317 / AD 1899. The crescent consists of five parts: the first is the fluted base that takes the form of an inverted cup, and which was affixed to the apex of the dome. The base is connected by means of a small cylindrical neck to a second part, which consists of a large undecorated mass resembling a sphere. Next is a small cylindrical neck, on top of which is a ring, which transfers it to the third section consisting of a fluted and elongated ovoid form. This part ends with a ring, similar to the former. Adjacent to it is a cylindrical neck that is connected to the fourth part. This consists of a small spherical mass reminiscent of the sphere (the second part). On top of this section is a cylindrical neck, which forms the zone of transition to the fifth and final part of the section, the crescent.  \nThe crescent consists of a circle whose diameter measures 90 cm, and which takes a principal position. It is thickest at its lowest part, tapering in along the two sides to reach, at its height, its thinnest form. This crescent is considered one of the largest used on any building in the Islamic world, and on account of what we know about the singularity of its size, it may be the largest acquired by any museum. The Islamic Museum in Jerusalem acquired two other great crescents, which were brought from the Dome of the Rock and al-Aqsa Mosque respectively. The crescent shown here is in good condition and is undecorated as the crescent was placed at such lofty heights that no eye could possibly discern or distinguish any decorative detail.","short_description":"This large copper crescent crowned the apex of the Dome of the Rock. It has a circular ribbed base in the form of an inverted cup and continues in a number of forms to end with a large circle whose diameter measures 90 cm. This crescent is considered one of the largest in the Islamic World, and is probably the largest housed in a museum.","type":"Metalwork","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Dome of the Rock, Jerusalem.","dates":"About hegira 12th century / AD 18th century.","location":"Jerusalem","dimensions":"Height 490 cm, diameter (of crescent) 90 cm.","method_for_datation":"The crescent was dated based on a comparison with similar pieces whose dates are agreed.","method_for_provenance":"Jerusalem was narrowed down as the place of production because such a large object as this would probably have been made on site.","provenance":"Jerusalem.","obtention":"The piece was transferred following its removal from the Dome of the Rock to storage facilities at the Agency of Islamic Awqaf in the Haram al-Sharif; it was transferred to the Islamic Museum in around 1923.","linkcatalogs":"IAM_TR_EN_001; IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Copper","crescent"],"materials":["assembled.","Crescent forged"]},"58467eac-791f-5968-9787-74e5c5043757":{"name":"Large pitcher","description":"This pitcher is inscribed in Ottoman Turkish with the following text:  \n  \n*\"Bu güğümden su içene şifalar olsun; eğer dahi kâfir içerse İslamla müşerref olsun. Tarih 1266’dır, cümle hakkında hayr olsun.\"*: “May those who drink water from this ewer be granted healing; and if an unbeliever drinks, may he be honored with Islam. The date is \\[AH\\] 1266; may it bring goodness to all.\")  \n  \nIt also reads *\"Fet oğlu Hüseyin Ağa, tûl-i ömrü ile muammer olsun.\"*: \"May Hüseyin Ağa, son of Fet, live a long and prosperous life.\"","type":"Pitcher","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 13th century / AD 19th century","location":"Istanbul","dimensions":"Height: 40cm","place_of_production":"Anatolia","method_for_datation":"Its date was determined by Islamic metal artefacts expert Güner Liman.","method_for_provenance":"Its date was determined by Islamic metal artefacts expert Güner Liman.","provenance":"Kastamonu","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["Blessing","Copper","Ottomans","pitcher","water"],"materials":["copper"]},"588403a2-2a6d-58c2-a765-7c8f4bdf08f0":{"name":"Lid (*sarpush*) for the plate (*dovra*)","description":"The conical food cover (*sarpush*) was placed atop a round dish (*dovra*) to keep food warm while serving. It is usually made of copper and richly engraved with zoomorphic and floral motifs and inscriptions containing mainly name of the owner and/or master, year of production, *ayahs* from the Quran, as well as wishes for the owner's well-being. Such inscriptions were normally depicted inside cartouches. In 2015, the copper craftsmanship of Azerbaijani Lahij was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity.  \n  \nOn this item, the year Hegira 1280 (AD 1859–1860) and floral motifs are depicted. On the upper border there are two lines of Hafez and an inscription stating that the artifact's owner is Agha Bayram, son of the late Aghadadash. Additionally, another inscription reads as follows:  \n\"Remove the sarpush,  \nSo the beloved one could taste the food.  \nSarpush hugged the bowl.  \nImmediately his heart forgot grief.  \nHe calmed down as his lips touched the dish and he ate food.  \nHe was born smart.  \nMay the conversations accompany the feast.\"","type":"Tableware","holder":"Azerbaijan National Carpet Museum","dates":"Hegira 1280 / AD 1863–1864","location":"Baku","dimensions":"Height: 34cm, diametre: 24.5cm; height: 6cm, diametre: 29cm","place_of_production":"Azerbaijan","method_for_datation":"By stylistic and comparative analyses with related material","obtention":"Purchased in 1988; puchased in 1974","author":"Rustam Afandiyev","keywords":["Azerbaijan","Copper","dovra","Lidded plate","sarpush","Tableware"],"materials":["copper","engraved.","hammered"]},"58b9817a-c39c-5ed0-9922-32e3e0ccbd6a":{"name":"The bronze statue representing 22 countries of member of Universal Postal Union","description":"The Universal Postal Union was created in 1874, initially under the name \"General Postal Union\", as a result of the Treaty of Bern signed on 9 October 1874. The UPU is a specialized agency of the United Nations that coordinates postal policies among member nations, in addition to the worldwide postal system. Transportation freedom is guaranteed with this treaty.","type":"Statue","holder":"Istanbul Postal Museum","dates":"1874","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"58ffe3b7-a7c4-59ea-a3f7-15adee4841cf":{"name":"Sword that belonged to Carol of Hohenzollern","description":"In April 1866, Carol of Hohenzollern was elected by plebiscite ruler of the United Principalities of Moldavia and Wallachia. However, according to the Paris Convention of 1858, an act signed by the Ottoman Empire, Russia, Austria, Prussia, France, Great Britain and Sardinia, which established the internal organization of the Principalities, they were supposed to each have their own local prince. So, Carol’s election had to be recognized by the Sublime Porte, the sovereign power, and by the other Great Powers. Following negotiations held at Istanbul, in October sultan Abdul Aziz agreed to give his consent. Carol then travelled to Istanbul, where he was invested as ruler of the Principalities and was given by the sultan five Arabian horses and a sword decorated with 1140 brilliants and 46 diamonds.","type":"Damascus steel sword","holder":"National Museum of Romanian History","dates":"1866","location":"Bucharest","provenance":"Turkey"},"59c2a789-38b6-526c-8c2e-10450f77128f":{"name":"Long Moorish musket","alternate_name":"Espingarda","description":"This musket, along with other pieces, was taken by Salvador de Foronda, a member of the Spanish Army, awarded for his actions in battle. He was a relative of the Marquis of Cerralbo and donated to his uncle’s museum these exceptional pieces in 1918. The Moorish musket, a long firearm that could be shot with a single arm while riding the horse, was described by Salvador as “one of the most ancient and authentic\", a truly beauty with damascene work, romantically infused with the testimony of the war.","type":"Armoury","holder":"Cerralbo Museum","dates":"19th century","location":"Madrid","provenance":"North Africa","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell"},"5a0832a0-d80b-5889-9b46-4a7e7fdf77f8":{"name":"Pearl Trader’s Gauges","description":"These seven rectangular and foldable copper alloy gauges were used to ascertain the various sizes and circumferences of pearls, from the most miniscule to the gigantic, which would have fetched the highest price. When not in use, the implement was folded away and stored in a simple copper alloy sheath.","type":"Copper alloy pearl grading gauges","holder":"Sharjah Maritime Museum / Sharjah Museums Department","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah","provenance":"Sharjah Emirate","author":"Ulrike Al-Khamis"},"5a8534d7-ca00-502b-8b60-d63d4937e1c2":{"name":"Divination bowl","short_description":"Brass bowl richly ornamented with calligraphic inscriptions and zodiacal imagery.","type":"Metalwork","holder":"MAO Museum of Oriental Art","dates":"Hegira 11th century / AD 17th century","location":"Turin","dimensions":"Height 10 cm, diameter 24.3 cm","provenance":"Iran","keywords":["calligraphy","divination","metalwork","Safawid"],"materials":["brass","calligraphic inscriptions"]},"5b111959-0e06-5d73-9d98-5177f4d07663":{"name":"Mamluk armour","short_description":"In the AD 1559 inventory of the collection of Archduke Ferdinand II of Tyrol (AD 1529–95) this helmet and cuirassier armour were wrongly attributed to \"N. König zu Cuba in India“ (a king of Cuba in India). In AD 1788 the shield was correctly added and the ensemble, for no apparent reason, identified as belonging to the North African maritime hero, Dragut Reis, King of Kairun (died AD 1565). Modern attribution to a Mamluk prince is based on the artefact's similarity to the *morion* (open helmet) of Khairbak, the Mamluk governor of Aleppo (Istanbul, Topkapı Sarayı Museum) who handed over Syria to the Ottoman Sultan Selim I in AD 1517. It is the most sumptuous example of this type of Oriental armour.","type":"Armour","holder":"Kunsthistorisches Museum","dates":"Hegira 10th century / AD 1st quarter of the 16th century","location":"Vienna","dimensions":"Helmet: Height: 33cm, Width: 23.5cm, Depth: 28.5cm;  \nArmour: Height: 72.5cm, Width: 65cm, Depth: 34cm;  \nShield: Height: 12.5cm, Diameter: 63cm","method_for_datation":"Comparison with similar objects","method_for_provenance":"Collection Ambras Castle, Inventory AD 1559","provenance":"Egypt?","obtention":"Collection Ambras Castle, Inventory AD 1559","bibliography":"Mayer, L. A., \"Saracenic Arms and Armor\", *Ars Islamica*, 10 (1943).  \nThomas, Bruno and Gamber, Ortwin, *Katalog der Leibrüstkammer I. Teil. Der Zeitraum von 500 bis 1530*, Wien: Verlag Anton Schroll & Co, 1976.","author":"Matthias Pfaffenbichler","copy_editor":"Liz Cooper","keywords":["Armor","armours","collection","gilding","iron","Khairbak","Mamluck","Mamluk arms","metalwork","military wear","Selim I","shield"],"materials":["chain mail","fire gilded","partly made of punched rings","Repoussé iron","with punched decor"]},"5b1c8043-09cd-5175-9295-722ec38d28a3":{"name":"Ewer","short_description":"The ewer gives a peculiar example of the late 12th–early 13th century inlaid brassware from Khorassan (Northeastern Iran). It has a cylindrical 12-faceted body with a flat bottom (probably later remade), a high cylindrical neck with two repoussé lions on both sides of the spout and a simple loop handle.  \nOn the shoulders of the ewer there is a large relief 12-pointed rosette with fish between ends. The surface of the body facets are decorated with three bands of ornament. On the top there is a row of medallions with human figures, probably musicians (significantly erased). Beneath runs a *naskh* inscription of traditional blessings addressed to the owner of the vessel: “Glory, success, lordship, happiness, patronage, care…”. In the lower part a large band of figural medallions depicting the 12 signs of the Zodiac is placed. Elements of the décor, which includes floral arabesque background, are articulated with silver inlay (partially lost) and contrasting black filler. There is also a *kufic* inscription on the neck, not read.","type":"Metalwork; Ewer","holder":"The Khanenko Museum","owner":"The Khanenko Museum","dates":"AD late 12th–early 13th century","location":"Kyiv","dimensions":"Height: 33cm","method_for_datation":"Stylistic analysis by V. Krachkovskaya (1926, date, origin), A. Ivanov (examination, 1960, inscription reading, origin specified).","method_for_provenance":"Publication of Vera Krachkovskaya (1927). Old Museum Inventory Register (1925-1946).","provenance":"Herat, Khorassan, Iran (?)","obtention":"Purchased by Bohdan and Varvara Khanenko. Donated by Varvara Khanenko in 1918, nationalised by Bolshevik regime in 1919.","bibliography":"Bilenko, Halyna and Vyshnevetska, Mariya, et al., *State Collections of Ukraine*, album, The Bohdan and Varvara Khanenko National Museum of Arts, 2009.  \nCanby, Sheila R., et al., *Court and Cosmos: The Great Age of the Seljuqs*, New York: The Metropolitan Museum of Art, 2016.  \nCarboni, Stefano, *Following the Stars: Images of the Zodiac in Islamic Art*, New York: The Metropolitan Museum of Art, 1997.  \nKrachkovskaya, V., \"Musulmsnskoye iskusstvo v sobranii Khanenko (Muslim Art from the Khanenkos' Collection)\", in Bartold V.V. (ed), *Zapyski Kollegii Vostokovedov (Notes of the College of Orientalists)* at Asian Museum of USSR Academy of Sciences, Vol II, Leningrad: USSR Academy of Sciences, 1927.","author":"Antonina Makarevych","copy_editor":"Janice Medina","keywords":["brass","ewer","Iran","Khorassan","metalwork"],"materials":["Copper alloy (brass)","Engraving","inlaid with silver and black compound","repoussé"]},"5b229743-fc47-5975-b220-b56bbbada7be":{"name":"Pair of pistols","description":"These Turkish flintlock pistols were used by the Ottoman soldiers in Lebanon in the 19th century to quash resistance movements. As the Lebanese resistance had no weapons of their own, the fighters frequently ambushed Ottoman soldiers and took their weapons. These pistols are an example of such weaponry, which was taken by the resistance and used against the Ottomans. They have a wooden bulbous butt plate and engraved silver mounts ornamented with coral. They are made of wood and cast steel and have a small, ornamental, engraved silver piece on the wooden grip.","type":"Military object; metalwork; firearms; arms and armour","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","provenance":"Turkey","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"5b39f275-54df-59e1-af9d-1758c033e5d5":{"name":"Printing block (stamp) listing holy places in the region of Palestine.","description":"A printing block (stamp) composed of a simple copper panel that is rectangular in shape. It is devoid of decoration except for the inscribed record on its surface. A frame encompasses the list on all four sides, composed of straight lines engraved into the copper with the exception of the lower line, which takes the form of an undulating wave. There are two curved forms on both edges of the last line. The block holds an engraved Ottoman Turkish inscription that names the principal holy places in Palestine, such as al-Aqsa Mosque and the Dome of the Rock in Jerusalem, as well as al-Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil). The block also includes the names of the tombs of some of the prophets, including that of Moses located on the road leading to Jericho; the tomb of David, located outside the walls of the Old City of Jerusalem and the tombs of Ibrahim (Abraham) and Isaac as well as Jacob, and their wives, in al-Haram al-Ibrahimi and the tomb of al-Khadir. In addition, the block records the names of a series of sites and shrines that include: the Mihrab of Zakariya in the Haram al-Sharif;the site of Abu 'Ubaida 'Amar bin al-Jirrah in 'Amwas (Nicopolis); the Tomb of Mary at the foot of the Mount of Olives in Jerusalem;the Qubbat al-Mi'raj (Dome of the Mi'raj); Qubbat al-Arwah (Dome of the Spirits); al-Buraq al-Sharif (Sanctuary of al-Buraq) in the Haram al-Sharif; the Qubbat Rahil (Rachel's Tomb) in Bethlehem; the tomb of Joseph in Halhul and al-'Ais in Sa'ir. The block also contains the names of the great saints of the Sufi paths, among whom are Muhammad al-Khalili (d. AH 1146 / AD 1734), who was one of the *'ulama of the Bait al-Maqdis* (scholar of the Bait al Maqdis) and Muhammad al-Budairi (d. AH 1220 / AD 1805) who was another scholar of the *Bait al-Maqdis*. The inscription ends with the word “Opening”.  \nIt is possible that the printing block gave authorisation to enter the holy places named, or perhaps it was meant to be a list of places a Sufi should visit in the region of Palestine. It is likely that it was used to print on paper and then distributed to an interested public.","short_description":"A rectangular copper panel devoid of decoration. It is inscribed with a list of the most important sites and shrines in Palestine. It might have been authorisation to enter these places, or a list of places that one should visit, or merely places where one could be blessed. It was probably stamped on paper to be distributed to interested parties.","type":"Copper, engraving","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Islamic *Awqaf* (Endowments), Jerusalem.","dates":"Hegira 13th century / AD 19th century.","location":"Jerusalem","dimensions":"Length 31 cm, width10 cm.","method_for_datation":"The piece was dated by ascertaining the life-spans of the pious men who are mentioned (Sheikh Muhammad al-Khalili and Sheikh Muhammad al-Budayri).","method_for_provenance":"It is likely that this printing block was made in Palestine, as there were a number of copper workshops producing a variety of copper objects In Jerusalem. In addition, the names of the sites detailed on the printing block are all in Palestine, which strengthens the hypothesis that it was made locally.","provenance":"Jerusalem.","obtention":"The printing block was transferred on an unknown date from the Haram al-Sharif to the Islamic Museum in Jerusalem.","linkcatalogs":"IAM_TR_EN_001; IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Copper","engraving","Entrance authorisation","inscription","list of holy places","list of shrines","printing block"],"materials":["forged","hammered and engraved copper."]},"5bec58d8-0fa1-5be0-b117-a7d107fd833c":{"name":"Mortar and Pestle","short_description":"The brass mortar and pestle was a commonly used implement in medieval Muslim society. A household tool for the preparation of food, the mortar and pestle also served alchemists and pharmacists; in fact it became closely associated with the latter profession, as depicted in Islamic manuscripts such as Dioscorides’s *De materia medica*, a guide to medicinal plants. This mortar and pestle is a rare surviving set due to its extensive decoration and excellent condition. Although the mortar shows little sign of ware, its octagonal exterior shape with wide flat base and broad rim, and its contrasting circular interior, were intended to promote efficient pounding.","type":"Tools and Equipment","holder":"Los Angeles County Museum of Art (LACMA)","dates":"Hegira early 7th century / AD early 13th century","location":"Los Angeles","dimensions":"Mortar: 14.25 x 20.2cm; Pestle: 23.5cm","method_for_datation":"The epigraphic style of the benedictory inscriptions, the figures of the pacing hares, and the bird on the knob of the pestle, all set against a scrolling leaf background, are typical of engraved metalwork from Khurasan and datable to the early 13th century.","method_for_provenance":"The shape and decorative style is characteristic of a type of mortar associated with Khurasan.","provenance":"Iran or Afghanistan, Khurasan","obtention":"Collection of Nasli M. Heeramaneck (1902-1971), New York, until 1973 (sold to); LACMA, The Nasli M. Heeramaneck collection, gift of Joan Palevsky.","bibliography":"Canby, Sheila R., Beyazit, Deniz, Rugiadi, Martina and Peacock, A.C.S., *Court and Cosmos: The Great Age of the Seljuqs*, New York: Metropolitan Museum of Art, 2016, 170-171.  \nKomaroff, Linda, *Lo Terrenal y lo Divino: Arte Islámico siglos VII al XIX Colección del Museo de Arte del Condado de Los Ángeles*, Santiago: Centro Cultural La Moneda, 2015: 81.  \nPal, Pratapaditya (ed), *Islamic Art: The Nasli M. Heeramaneck Collection*, Los Angeles: Museum Associates, 1973: 163-164, cat no. 301.","author":"LACMA Staff","keywords":["animal decoration","bronze","engraving","metalwork","Seljuq"],"materials":["Bronze","cast","engraved"]},"5c0250af-5482-5576-b32b-052f4808268d":{"name":"Bottle","short_description":"This bottle, though part of a large group of objects, is special in its design. Similar bottle types are found commonly, but this particular example does not have any directly corresponding pieces. It features a high, slightly slanting foot, a cuboid body with a vertical bulge on each side, a convex shoulder, a narrow neck and lastly, a high cylindrical mouth with round high-relief bosses. This special decor was compared to the facades of early Islamic buildings, like those in Samarra, by Monika Dahncke. More frequently, bottles of cuboid shape show tear-shaped knobs on the sides.  \nAs with many of the other bottles from the Bumiller Collection, this one did not have a base originally. It is therefore plausible to think of the filling method suggested by Eva Baer. The bottles were filled from the base and then sealed with a plug. They were most likely used as containers for perfume or scented water.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 2-3th century / AD 8th-9th century","location":"Bamberg","dimensions":"Height: 18.6cm, Diameter mouth: 3.2cm, Diameter body: 6.9cm","method_for_datation":"By stylistic analysis and through comparison","provenance":"Persian World","obtention":"Purchased from Hardt, Radevormwald in 1985","bibliography":"Baer, Eva, *Metalwork in medieval Islamic art*, Albany: State University of New York Press, 1983.  \nDahncke, Monika, Bumiller Manfred, Riederer, Josef, *Enghalsflaschen. Typologie frühislamischer Bronzen der Bumiller-Collection, Schriften des Museums für Frühislamische Kunst in Bamberg 5*, Bamberg/Wiesbaden: Reichert, 1997.","author":"Tamara Haller","copy_editor":"Daniel de la Vega","keywords":["bottle","metalwork","perfume","rose-water"],"materials":["Bronze","cast"]},"5c17b2fc-e65e-59ac-b9dc-bdb3432e2dc2":{"name":"Candlestick","short_description":"With its truncated body, this candlestick belongs to a group of lighting devices that was popular during the medieval period from Egypt to Central Asia. Its design consists of interlacing medallions filled with arabesque-like patterns, smaller fretwork medallions, and simple pairs of birds that develop out of the stems and are almost hidden within the foliate scrolls. Its surface has been fully engraved and inlaid in silver. Remains of gold inlays confirm that details, such as the octagonal star-like fretwork medallions or the smaller circular fretwork motifs, were originally accentuated. The elaborate and costly technique provides this candlestick with a polychrome, glittery, and shiny appearance, transforming a utilitarian object into a luxurious artwork for elite households, palaces, or ceremonial contexts.","type":"Candlestick","holder":"Aga Khan Museum","dates":"ca. 1300–50","location":"Toronto, Ontario","dimensions":"Height: 20cm, Diameter: 18cm","provenance":"Northern Iraq (Possibly Mosul) or Western Iran","obtention":"Purchased at auction","author":"Alessandra Cirelli","keywords":["brass","candle","Candlestick","Engraved","gold","light","lighting","medallions","silver"],"materials":["and black compound","and inlaid with silver","brass","cast","engraved","Gold"]},"5d100163-7783-5d0b-b8a8-5ee5feece0df":{"name":"Candlestick","short_description":"The candlestick was dedicated by the Mamluk sultan Qaytbay to the shrine at Medina in 1482. Monumental inscriptions whose letter-ends curve to form tongs enclosing small palmettes, occupy almost the entire height of the base. The sultan Qaytbay had the mosque of the Prophet restored in 1480 and offered to it at least five candlesticks, of which another two have survived and are now in Cairo.","type":"Candlestick, metalwork","holder":"Benaki Museum","dates":"Hegira 886 / AD 1482","location":"Athens","dimensions":"Height 46 cm.","provenance":"Egypt","keywords":["Candlestick","metalwork","Sultan Qaytbay"],"materials":["Brass inlaid with black organic material"]},"5d377e78-b054-59b0-820b-7328307c7e77":{"name":"Brass head of flagpole","description":"A crescent shape made of casted brass fixed on a pointed piece of copper with a hole at the bottom to install a long wooden staff. In religious festivities such as a pilgrimage, various activities were organized. They would normally include festivals and rallies under flags and standards. The heads of flagstaffs were decorated with metallic items usually with Arabic calligraphy and some cosmic signs such as the crescent and the star.","type":"Cultic object","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Jordan; Palestine","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"5dd25402-aa83-5544-9e46-d6ccfe8b2a79":{"name":"Small magic cup","description":"Religious formulas or numbers written on magic bowls are used to compensate for medicine’s limitations. Liquid that comes into contact with these formulas acquires their curative property. The centre is decorated with a representation of the *Ka'ba* on top and a six-pointed star on the reverse.","type":"Copperware","holder":"Museum of the Arab World Institute","dates":"Hegira 10th-11th century / AD 16th century","location":"Paris","dimensions":"Height: 4.5cm, Diameter: 20.5cm","provenance":"Near East","obtention":"Purchased at auction on advice of François de Ricqlès, 2001.","translator":"Judy Harter","materials":["Copper alloy with engraved decoration"]},"5eb1c735-e657-5f39-8791-b8112b9f9ac5":{"name":"Mamluk candlestick","description":"Crafted from copper alloy, this bell-shaped candlestick is a testament to the remarkable craftsmanship of the Mamluk period. Its design features intricate cursive inscription bands interrupted by roundels adorned with whirling rosettes, each meticulously engraved with the official titles of the owner. Notably, the inscription on the cylindrical base is upside down, adding a captivating detail to its design that invites further scholarly inquiry.  \nOne of the most intriguing aspects of this candlestick is the inscription on its neck, which suggests its ownership by a Mamluk sultan. However, the illegibility of the name presents a challenge to dating the object with certainty, leaving room for scholarly debate and analysis. Nevertheless, the presence of such prestigious ownership hints at the candlestick’s significance within the context of Mamluk court culture and patronage.  \nFurther examination reveals variations in copper composition between the base and the neck, and differences in script styles in the inscriptions. These subtle variations suggest the possibility that the candlestick was repurposed from a different object; perhaps originally one part served as a tray stand or another decorative item. This adaptive reuse highlights the resourcefulness and ingenuity of Mamluk artisans, who were adept at recycling materials to create new and innovative works of art.  \nIn addition to its artistic and historical significance, this candlestick offers valuable insights into the material culture and artistic practices of the Mamluk period through meticulous analysis of its craftsmanship, inscriptions and materials, with intricate details likely achieved through engraving and embossing.","type":"Metalwork","holder":"Sheikh Faisal Bin Qassim Al Thani Museum","owner":"His Excellency Sheikh Faisal Bin Qassim Al Thani","dates":"Hegira c. 7th to 10th century / AD c. 13th to 16th century","location":"Doha, Qatar","dimensions":"Height: 20cm, diameter: 5cm, base diameter: 20.5cm","place_of_production":"Egypt or Syria","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, techniques, style and analogies.","method_for_provenance":"Provenance was established in research-based comparison from an examination of material, techniques, style and analogies.","provenance":"Egypt or Syria","obtention":"Purchased","author":"Mahmoud Saber","copy_editor":"Judy Harter","materials":["Copper alloy","embossing","Engraving","metal"]},"5f34d8aa-7227-5757-ad27-808b70e892e9":{"name":"Travel cup","description":"An exquisite Ottoman piece crafted by the renowned Aznavur workshop, featuring the *tughra* (imperial monogram) of Sultan Abdülhamid II and designed in an interlocking, nested form.","type":"Cup","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 13th century / AD 19th century","location":"Istanbul","dimensions":"Height: 10cm","place_of_production":"Istanbul","method_for_datation":"Determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","method_for_provenance":"It was determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","materials":["Silver"]},"601dea0d-c3b8-5a7e-bb87-bec596bffd3b":{"name":"Metal bucket (*Bakraç*)","description":"Decorated with engraved vegetal motifs executed in fine craftsmanship.  \nInscribed in Ottoman Turkish with the text:  \n  \n\"Sâhibü Ömer ibn-i Ubeyd, sene \\[H.\\] 1131.\"  \n  \n\"Owner: Ömer, son of Ubeyd. Year \\[Hijri\\] 1131.\"","type":"Bucket","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 12th century / AD 18th century","location":"Istanbul","dimensions":"Diameter: 28cm, depth: 23cm","place_of_production":"Anatolia","method_for_datation":"Determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","method_for_provenance":"It was determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","provenance":"Tokat","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","materials":["copper"]},"6199aa8d-fb08-53d5-bf97-2267cb49f32d":{"name":"Incense Burner","short_description":"This hollow cast incense burner in the shape of a bird is hinged and consists of two parts, which allows the object to be fully opened to insert the incense.  \nThe whole surface is engraved. Perforated decoration can be found on the chest, wings, back and tail. The eyes are highlighted by studs and engraved feathers cover the neck. An angular inscription runs chain-like around the neck and reaches the middle of the chest. A pierced, interwoven motif is placed in between. The wings contain a medallion with an elevated centre and spiralling tendrils and knots. The wingtips are ribbed and framed by an interlaced band which widens below them. The area between hinge and tail tip contains an ornament band with interwoven patterns. The legs are covered in engraved feathers and the claws are shaped in a detailed manner.  \nThe hinged body is different to most other bird-shaped incense burners, which either have a square drawer or an opening for the incense.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 6-8th century / AD 12th-14th century","location":"Bamberg","dimensions":"Height: 29.1cm, Width: 20.2cm, Weight: 1.319kg","method_for_datation":"Based on a stylistic analysis of its motifs and similiarities to objects of other collections.","provenance":"Persian world","obtention":"Purchased from Marko Pollo Ltd. London in 2012","bibliography":"Allan, J.W., *The Metalworking Industry in Iran in the early Islamic Period*, Oxford: Faculty of Oriental Studies, 1976: 310-315.","author":"Anita Mangalath","copy_editor":"Daniel de la Vega","keywords":["Afghanistan","animal","bird","bronze","Incense burner","Inlaid metalwork","inscription","Iran","Iranian world","metalwork","Persian world"],"materials":["Bronze","cast","engraved","inlaid","perforated"]},"6314fc89-b9ba-5290-9769-cdb6be307bc9":{"name":"Bowl","short_description":"Brass bowl inlaid with silver, the upper body decorated with four cartouches in *thuluth* script extolling the grandeur of an anonymous sultan, interspersed with roundels, each enclosing horsemen carrying maces; underside decorated with a central rosette and pendant palmettes; the interior with a sun motif surrounded by three concentric bands of fishes.","type":"Vessels & receptacles","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira 8th century / AD 14th century","location":"Kuwait City","provenance":"Iranian World","keywords":["calligraphy","figurative motifs","inlay","inscription","palmette","Thuluth","vegetal motifs"]},"6316fa3b-7cce-55f6-bcdc-23910cde7fbb":{"name":"Lunch box (*m’raq*).","description":"The object, cylindrical in shape, is composed of four parts stacked one above the other, and a lid with a semi-circular handle. The whole is connected by two flat vertical plates that are attached to the lid via two hooks, and which are decorated with zigzag dots.  \nThe four parts are ornamented with floral decoration – alternating stylised acanthus leaves and tulips. The lid is enhanced by a geometric decoration (zigzag lines).  \nAlthough the function of this object is for the transportation and serving of various dishes, some suggest that it is a *hammam* utensil, which would have been used by women in the past for carrying required bath items.","short_description":"This cylindrical food container consists of four superposed parts decorated with floral patterns and fitted with a lid with a semi-circular handle decorated with geometric motifs. The whole is bound together with vertical metal bands that are attached to the lid by means of two hooks.","type":"Metalwork, copper, Kitchenware","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 925–1245 / AD 1519–1830.","location":"Algiers","dimensions":"Height 32.5 cm, diameter 16.5 cm.","method_for_datation":"From the style of the floral elements (tulip, acanthus leaf), employed in abundance by the Algerian brassware manufacturers of the period for the decoration of everyday objects.","method_for_provenance":"Algiers was the main centre of manufacture for this type of brassware.","provenance":"Algiers.","bibliography":"Eudel, P., *Dictionnaire des bijoux de l'Afrique du Nord, Maroc, Algérie, Tripolitaine*, Paris, 1906.  \nMarçais, G., *Le musée Stéphane Gsell, musée des antiquités et d'art musulman d'Alger*, Algiers, 1950.  \nMarius, V., *Les industries d'art indigène en Algérie,* Algiers, 1902.","author":"Ali Benbella","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["acanthus","bath","brass","Copper","Daily life","domestic vessels","floral decoration","furnishing","geometric decoration","Hammam","Ottomans","tulip","women"],"materials":["Hammered and incised copper."]},"636b9fbc-cc5c-5372-876f-fc8b279f7e51":{"name":"Spout","description":"The flowing fountain spout has a funnel-like shape, with a wider diameter at the wall-connection end.  \n  \nFaucets, such as this one, were placed on street fountains, where water continuously flows.","type":"Spout","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 6th–7th century / AD 12th–13th century","location":"Istanbul","dimensions":"Length: 35cm","place_of_production":"Mesopotomia","method_for_datation":"Determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","method_for_provenance":"It was determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["fountain","spout","water"],"materials":["Bronze"]},"63d7eb6d-8326-5395-9279-d48a47c2abba":{"name":"Pair of *mihrab* candlesticks.","description":"Each candlestick has a round base, a bell-shaped body, a cylindrical neck with a ring, and a wide candleholder. At the top and bottom of the body is a band of heart-shaped motifs with palmettes at their centres, a border repeated at the bottom of the neck. On the ring of the neck are large leaf motifs in relief. The neck itself is decorated with wavy lozenges featuring *hatayi*\\-style (peony) motifs shown both frontally and in profile. The candleholder is decorated with interlacing cartouches with inscriptions. The main part of the body is decorated with a wide inscription band on a background of peonies and spiralling tendrils. The inscription in Persian is a poem praising the light of the candlestick; the Arabic inscription reads: 'May Sultan Bayezid be preserved from calamities'; the inscription in Ottoman Turkish informs us that the candlesticks were made for the mosque of Sultan Bayezid II in Edirne. Both candlesticks are entirely gilded. The forms of these candlesticks recall Mamluk candlesticks.","short_description":"When Ottoman sultans commissioned the construction of their mosques, they also ordered the production of candlesticks to be placed on both sides of the *mihrab*. These candlesticks were made for the Mosque of Bayezid II in Edirne and the inscriptions offer good wishes for the sultan.","type":"Bronze","holder":"Museum of Turkish and Islamic Arts.","initial_owner":"Sultan Bayezid II (r. AH 886–918 / AD 1481–1512).","dates":"Around hegira 894 / AD 1488.","location":"Sultanahmet, Istanbul.","dimensions":"Height 89 cm, diameter (of base) 73 cm.","method_for_datation":"The mosque of Bayezid II in Edirne, named on the inscriptions of the candlesticks, was completed in 894 / 1488. Thus the candlesticks must have been produced at about the same time.","obtention":"The candlesticks were transferred to the Museum in 1911 from the Selimiye Mosque in Edirne.","bibliography":"ölçer, N. *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, p.247.  \n  \nRoxburgh, D. J. (ed), *Turks: A Journey of a Thousand Years, 600–1600*, London, 2005, pp.441–2.","linkcatalogs":"IAM_TR_EN_001","author":"Alev Özay","translator":"Barry Wood","translation_copy_editor":"Mandi Gomez","keywords":["Candlestick","mihrab","Mosque interior decoration"],"materials":["Bronze","decorated with engraving and gilding."]},"63db5c62-6d08-59c2-901b-88672c5ff510":{"name":"Candlestick.","description":"A brass candlestick of a standard shape. Most surface areas, including the neck, shoulder and body, are decorated with inlaid silver. The main ornament of the body is a superb inscription in a grandly flowing script which reads: 'Made for His Highness, the exalted personage, the man of lordly rank, the officer in the service of Rukn al-Din, Rukn al-Din Muhammad Ibn Qaratay al-Baghdadi'. Dividing the large inscription are three medallions with scalloped borders which extend the full height of the body. Within these medallions are curious designs in which a series of spiralling branches coil outward from a small face-like motif and sprout birds, animals and masks from their ends. Both these medallions and the large inscription they punctuate are set against a background of dense leafy arabesques. The neck is decorated with smaller versions of the medallions on the body, and the collar repeats in smaller letters the dedicatory inscription.  \n  \nAt some point in its history the candlestick was re-silvered, giving it a brighter and newer appearance than most candlesticks of this age. Also, a later owner engraved an inscription in Armenian into the top of the candlestick's body; the reading is uncertain but it seems to say, 'This candlestick is in memory of Temar, valiant son of Mkrtich \\[sic\\], who gave it to the Mother of God'. Although the identity of Temar and the church or monastery to which the candlestick was donated are unknown, this inscription is a fascinating glimpse into the life of a beautiful object.","short_description":"A brass candlestick inlaid in silver with ornament whose main feature is a superb inscription naming the patron. Candlesticks of this shape are common in Islamic art of the medieval period. Later in its history this candlestick was also inscribed with a dedication in Armenian.","type":"Metalwork, brass, silver","holder":"Victoria and Albert Museum.","initial_owner":"Rukn al-Din Muhammad Ibn Qaratay al-Baghdadi.","dates":"Between hegira 658–709 / AD 1260–1309.","location":"London, England","dimensions":"Height 35.7 cm, diameter 32.4 cm.","method_for_datation":"The patron is described as in the service of Rukn al-Din. This can refer either to Sultan Rukn al-Din Baybars I al-Bunduqdari, (r. 658–76 / 1260–77), or to Sultan Rukn al-Din Baybars II al-Jashankir, who reigned only briefly (708–9 / 1309).","method_for_provenance":"Cairo and Damascus were the two most important centres of art production under the Mamluks.","provenance":"Cairo or Damascus.","obtention":"Bequest of George Salting in 1910.","bibliography":"Stanley, T., with Rosser-Owen, M. and Vernoit, S., Palace and Mosque: Islamic Art from the Middle East, London, 2004, p.28, and p.97, plate 30.","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","figurative decoration","floral decoration","inscription"],"materials":["Brass inlaid with silver."]},"64d4e82c-fbbb-5b33-9d84-d34775716419":{"name":"Sword","short_description":"The sword has a short curved blade with a single-edged upper section and widened point with double edges on the lower part. One side of the blade bears a signature cartouche that reads ‘Amal Dawud, (Dawud, the maker). The stained walrus ivory hilt of the sword is decorated with inset diamond botehs and gold inset stellar motifs with green enamelled centres. The scabbard of green velvet is decorated with silver wire floral motifs with attached cultures pearls.","type":"Arms and Armour","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1100 / c. AD 1700","location":"Kuala Lumpur","dimensions":"Sword: 55cm; scabbard: 48.5cm","provenance":"Turkey","bibliography":"Islamic Arts Museum Malaysia, *IAMM Guide Book*, Kuala Lumpur: IAMM Publications, 2014: 16.  \nIslamic Arts Museum Malaysia, *Symbols Of Power And Beauty: The collection of the Islamic Arts Museum Malaysia*, Kuala Lumpur: IAMM Publications, 2015: 153.","materials":["binding","brass","chain making","diamond","Gold","green stone","hammering","Iron","Pearl","ruby","Silver","stone setting","thread","turquoise stone","Velvet","Wood"]},"65b8349d-08ce-503c-b05b-efd23a69c645":{"name":"Box and cover","short_description":"Cast bronze and brass objects displaying religious messages as the Basmala or the Shahada in *Sini* script were popular during the Xuande and Zhengde periods of the Ming Dynasty. During the 18th and 19th centuries AD (12th and 13th centuries AH), Chinese silversmiths incorporated Islamic designs in their silver wares to appeal to the export markets.","type":"Metalwork","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1100 / c. AD 1700","location":"Kuala Lumpur","dimensions":"Diameter: 18.3cm","provenance":"China","bibliography":"Jenyns, S. & Watson, W., *Chinese art; the minor arts: gold, silver, bronze, cloisonné, Cantonese enamel, lacquer, furniture, wood* (vol. 1), Universe Books, 1963.  \nSotheby's Hong Kong, *Masterpieces of Chinese Precious Metalwork: Ming and Qing Imperial Gold*, Hong Kong: Sotheby's, 2008.","materials":["Cast bronze"]},"65d60827-50d1-52dc-867b-96169525d2f1":{"name":"Brass box.","description":"A cylindrical brass box with a hinged lid, inlaid with silver decoration. The lid has a plait design around the edge and four ducks with their necks bent backwards in a knot pattern in the centre. A series of quatrefoil medallions with alternating arabesques and figures, surrounded by a geometric pattern, decorate the body of the box. An Arabic inscription around the lid reads: 'Glory to our master, the clement King, all wise, just, aided by God, victorious, having the support of the Deity, who combats infidels, who practices devotion, Badr al-din Lu'lu', the sword of the commander of the faithful'. Badr al-Din Lu'lu' was appointed Atabeg (Turkish 'father-lord') for three Zangid princes from AH 615–31 / AD 1218–33. Atabegs, initially guardians or tutors for princes of the Seljuq dynasty, grew more powerful while the authority of the Seljuqs waned. In AH 631 / AD 1233 Badr al-Din Lu'lu' became an independent ruler and took sovereign title of Malik al-Rahim after obtaining an investiture from the Abbasid Caliph, al-Mustansir. Badr al-Din Lu'lu' was an active patron of the metalwork industry; no fewer than five extant inlaid metal objects bear his name. Although the inlaid technique was borrowed from the East, the decorative motifs and vessel forms were from local models.","short_description":"Mosul was renowned for its metalwork industry in the early AH 7th / AD 13th century. This brass box, inlaid with silver, is particularly interesting as it is inscribed with the name Badr al-din Lu’lu’, who was ruler of Mosul and a keen patron of inlaid metalwork.","type":"Metalwork, decoration object, silver","holder":"The British Museum.","initial_owner":"Badr al-Din Lu'lu'.","dates":"Hegira 631–57 / AD 1233–59.","location":"London, England","dimensions":"Height 10.2 cm, diameter (of base) 11 cm; upper diameter (of lid) 8.5 cm.","method_for_datation":"The inscription contains the name of Badr al-Din Lu'lu' and his sovereign title; the box would have been produced, therefore, when Badr al-Din was ruler of Mosul between AH 631–59 / AD 1233–59.","method_for_provenance":"The inscription mentions the ruler of Mosul, Badr al-Din Lu'lu'. Mosul was a prosperous city on the banks of the Tigris in northern Iraq with a thriving metalwork industry.","provenance":"Mosul, Iraq.","obtention":"Bequeathed by John Henderson in 1878.","bibliography":"Rice, D. S., \"The Brasses of Badr al-Din Lulu\", in *Bulletin of School of Oriental and African Studies* 13, 1951, pp.627–34.  \n  \nWard, R., *Islamic Metalwork*, London, 1993, p.80.","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["arabesque","calligraphy","engraving","figurative decoration","Figurative representation","geometric decoration","Geometric pattern","inlay","inscription","zangids"],"materials":["Engraved and silver inlaid brass."]},"65f2ddcd-e513-5598-8002-24f065be06a6":{"name":"Public fountain bowl","description":"\"Süleymaniye is a district within Istanbul’s Fatih area, part of the historic “Sur içi.” It was known for artisans producing copper and brass works, marked with Ottoman Turkish inscriptions. These marks and craftsmanship identify pieces as “Süleymaniye work.\"  \n  \nThis particular piece is one such work, and is inscribed in Ottoman Turkish with the text:  \n  \n\"Fâtih Câmi-i Şerîfine vakf. Sene 1319.\"  \n  \n\"Dedicated as a waqf to the Fatih Mosque. Year \\[Hijri\\] 1319.\"","type":"Bowl","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"AH early 14th century / AD early 20th century","location":"Istanbul","dimensions":"Depth: 5.5cm, diameter: 11cm","place_of_production":"Istanbul","method_for_datation":"Determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","method_for_provenance":"It was determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","provenance":"Süleymaniye","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","materials":["brass"]},"66051236-e6f5-50e1-94a9-729e97d849a2":{"name":"Tea tray (*siniyya*)","description":"A tea tray, known as a *siniyya*, made in Fez in the 19th century. It’s geometric and floral decoration – a fusion of old and new styles – suggests that it was made before products, especially those of Richard Wright (“RR”) from Manchester, entered the Moroccan market.","type":"Metalwork","holder":"Dar Jamaï Museum","dates":"19th century","location":"Meknès"},"663338db-5ffa-529f-908c-a0f453f898ea":{"name":"Dagger","short_description":"Katar or thrust-dagger, the hilt overlaid with gold set with diamonds, emeralds and rubies, the exterior of the side-bars in a geometricized floral design, and the interior in a pattern of hexagons; the upper part of the blade with a flowering plant motif in gold. The hilt of gold is over an iron core, worked in *kundan* technique and set with gemstones; blade forged from *jawhar* steel, ground, polished and lightly etched, hatched and overlaid with gold.","type":"Arms and armour","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira probably 1060–1085 / AD probably 1650–1675","location":"Kuwait City","provenance":"India","keywords":["armours","arms","dagger","geometrical decoration","gold","India","weapon"]},"670372b2-f67e-5ac4-8b1b-28c10cd4bd8e":{"name":"Section of a rail from Hijaz Railway with commemorative inscription","description":"In September 1900, Sultan Abdul Hamid addressed a call for all Muslims all over the world to collect donations to establish a railway between Damascus and the holy places to facilitate transporting the pilgrims. The call was responded to enthusiastically and with the great support of all Muslims. The cost of the project was estimated at approximately five million Ottoman golden lira which were provided from: donations, the revenues of the Ottoman State earned from the sale of the stamps, and a special tax upon all the citizens for the railway. Construction of the narrow-gauge track (105cm) whose axle weight was (10.5 tonnes) began in 1900 with a wire telegraph line along its side connecting Damascus with Medina across Amman with a total track length of 1303km. The construction of the project ended in 1908. All the tracks and the stations were completed as detailed below: Mezerib Dera'a section, September 1901; Dera'a Al-Zarqa section, September 1902; Al-Zarqa Amman section, September 1903; Amman Ma'an section, September 1904; Ma'an Tabuk section, end of 1906; Tabuk Medain Saleh, September 1907; Medain Saleh Medina, September 1908. These rails were brought from the destroyed railroad tracks that were harmed by Arab revolt army attacks in 1917. On one side of the first rail is an Arabic phrase written in divan script: \"*min khayrat mawlana Amir al-mu'minin al-sultan al-ghazi 'abdal-hamid khan thani 'azza nasruhu*\".","type":"Railway","holder":"Numismatic Museum (Ahli Bank)","dates":"1907","location":"Amman","provenance":"Germany","author":"Aida Naghawy","copy_editor":"Daniel de la Vega"},"675a1412-80d3-5ceb-be97-76ef1b5412e4":{"name":"Incense burner.","description":"A globular incense burner that is made up of two interlocking hemispheres; inside one of the two halves is a mechanical structure consisting of a small bowl for holding incense and charcoal, which is suspended in the centre of the globe by two concentric rings. The rings are connected with each other in such a way that each is able to move independently, keeping the small bowl of incense and charcoal upright in a horizontal position regardless of how the globe is positioned, moved or rolled. This mechanism is also known as the 'Cardan suspension'. The outer surface of the globe is embellished with interlaced arabesque decoration inlayed with a tar substance. Both halves are perforated to allow air circulation and incense dissemination.  \n  \nThe origins of this type of incense burner are believed to be in China, where such globes were suspended from the ceiling, taking advantage of better ventilation and better exhalation of the burned incense. Early Islamic globes were suspended too. Later on they were rolled around the floor, and passed on from person to person. Once the Europeans discovered their value as hand-warmers, the Venetian merchants started to commission such pieces for the European market. Some were individually commissioned depicting European coats of arms.","short_description":"This globe is an incense burner from AH 10th- / AD 16th-century Syria. Inside there is a mechanical device that holds a small pot for incense and charcoal. When the globe is rolled on a table or the floor the incense pot remains horizontal. Mediterranean Europeans loved these and used them as hand-warmers.","type":"Metalwork, brass","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Hegira 9th–10th century / AD 15th–16th century.","location":"Glasgow, Scotland","dimensions":"Diameter 16 cm.","method_for_datation":"Artistic analysis and comparison with other examples made for the European market during the 9th–10th / 15th–16th centuries.","provenance":"Damascus, Syria.","obtention":"Donated by The Governors of the Glasgow and West of Scotland Technical College in 1902.","bibliography":"Ward, R., *Islamic Metalwork*, London, 1993.","linkcatalogs":"IAM_EG_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["Commerce","geometric decoration"],"materials":["Brass engraved with tar inlay."]},"68860d9a-5a4b-577c-8584-cef6ff62671a":{"name":"Pair of clogs","alternate_name":"ar. *qabqâb* or tr. *nalın*","description":"The high heeled clogs (ar. *qabqab*, tr. *nalın* are an emblematic item of the hamam reflecting the atmosphere of such public baths. They were worn when entering the bath complex to protect the wearer from the dirty water as well as from the hot marble floor. Wearing these shoes meant that the wearer was obliged to walk slowly to avoid falling. This slower pace was in tune with the temporality dictated by the rhythms of the hamam and its cleansing rituals.  \n  \nThis pair of clogs is attributed to Syria. They are made of wood inlaid with silver and multi-coloured triangular pieces of mother-of-pearl. The front and rear parts of the sole are incrusted with repoussé silver bands decorated with floral motifs encircled with two dotted lines. They are embellished with long silver chains ending in trinkets which must have created a gentle tinkling with each step highlighting the sound dimension of the hamam.  \n  \nThe strap holding the foot is made of various layers of leather for comfort. It is topped with a large silver band intricately designed and solidly nailed to the sole.  \n  \nThis pair of clogs is particularly high, suggesting that it might have been the property of the hamam owner who traditionally wore sophisticated clogs with heels higher than those of the clients. Often offered as part of the dowry of the bride in a toiletry trousseau providing her with all the hamam essentials, the clogs were a statement on the social status of their owner and could also bear many symbolic meanings through their decoration.  \n  \nAlthough strongly associated with femininity, hamam clogs, with lower heels and different ornamentation, were also worn by men in their own establishments.","type":"Shoes","holder":"Institute of the Arab World","dates":"AH c. 1267 / AD c. 1850","location":"Paris","dimensions":"Height: 35cm, length: 23cm","provenance":"Syria","obtention":"Purchased in a specialised gallery, Paris.","bibliography":"Bașkan, A., ‘A Research on the Temporal Transformation of Objects in Turkish Bath Culture’, in","author":"Dounia Handis","keywords":["Ablutions","clogs","Hammam","nalın","Ottomans","qabqab","water"],"materials":["Wood with silver and mother-of-pearl overlay"]},"68fae760-47a2-58aa-986f-28473ca5d989":{"name":"Revolver","alternate_name":"Leopold Gasser revolver","description":"Leopold Gasser Austrian navy revolver produced between 1870 and 1919. Serial number 156122 engraved on the frame and on the smooth surface of the cylinder. On the left side of the revolver, the plate at the base barrel has an inscription: \"PATENT RAST & GASSER WIEN 171290 GUSS STAHL\". On the frame right under the cylinder serial number 156122 and to the left of it an apple pierced with an arrow and L. G. with the word \"MARKE\" was engraved. The revolver is fitted with chequered wooden grips fixed to the frame by a screw within an oval with ears of steel insert pressed into the wood of the grip plates. On the right side of the revolver an illegible marking was stamped with two Arabic letters ا ح under the marking. The letters are obviously initials of either the maker or the owner. The same initials in Arabic letters were engraved on the cylinder. At the top of the barrel a crown with two letters NI was engraved.","type":"Handgun; arms; firearms","holder":"Jordan Folklore Museum, Department of Antiquities","dates":"Late 19th century – early 20 century","location":"Amman","provenance":"Austria, Vienna","author":"Mohammad Najjar","copy_editor":"Daniel de la Vega"},"694dde47-bada-58b2-bcc0-6d5bd86a4ac0":{"name":"Great lantern of al-Mu‘izz.","description":"The lantern is made up of a bronze hook supporting a shallow-domed hemispherical basin with an outwardly inclined upper rim. Attached to the six-faceted outer sides of the basin are three perforated chains with geometric and stylised floral decoration in the form of tracery and tri-lobed leaves. This is a common type of decoration in Middle-Age Kairouan. The chains support the large hammered-brass basin, which is shaped like a circular vase and allows light to shine through the myriad perforations. At the lowest point of the basin a six-point star has been punched out. This is surrounded by three inscriptions, one around the collar; another between the ring supports and a third circling the star. On the first strip, *kufic* calligraphy proclaims: 'Praise be to God … May he bestow blessings, good fortune, happiness, success, prosperity, health and glory on all who embrace Him.' On the circumference of the base is inscribed: 'The work of Muhammad son of Ali al-Qaysi al-Saffar \\[the metalworker\\] for al-Mu'izz.' This lantern closely resembles a mosque lamp kept at the Chicago Art Institute and a lantern of Persian origin belonging to the David collection in Copenhagen (Denmark). Both date from the AH 4th or 5th centuries (AD 11th century). All the evidence suggests that the lantern of al-Mu'izz, which lit up the Great Mosque of Kairouan, is an example of Byzantine–inspired craftsmanship, which was in vogue throughout the Arabic-Islamic world during the AH 4th and 5th centuries (AD 10th and 11th).","short_description":"Used to light the Great Mosque of Kairouan, this lantern is an example of Byzantine-inspired craftsmanship fashionable in Arab-Islamic society in the AH 4th–5th / AD 10th–11th centuries. A bronze hook supports a shallow basin from which three chains suspend a large circular brass basin perforated with holes for light.","type":"Lantern, metalwork","holder":"Museum of Islamic Art.","initial_owner":"Prince al-Mu’izz ibn Badis.","dates":"Hegira 424–43 / AD 1032–51.","location":"Raqqada., Kairouan.","dimensions":"Height 118 cm, diameter (max) 51.5 cm.","method_for_datation":"The last inscription states that the lantern was a gift from the Zirid prince, al-Mu'izz ibn Badis (r. 406–54 / 1016–62) to the Great Mosque of Kairouan. This donation could be contemporaneous with the legacy of the *Mudawwana* volumes, the work of the great Sunni legal expert Sahnun ibn Said (160–240 / 777–855), from the same prince to the Great Mosque of Kairouan in 424 / 1032. It was certainly before the Hilalian invasions of 443 / 1051.","method_for_provenance":"This lantern was part of the furniture of the Great Mosque of Kairouan. It was specially made by a lamp-maker for the reigning Zirid prince, so it was probably fabricated in a Kairouanese workshop.","provenance":"Kairouan.","obtention":"After the founding of the Museum of Islamic Art at Raqqada in 1986 it was decided to return this lantern, which was on display at the Bardo Museum, to its original location.","bibliography":"Marçais, G. and Poinssot, L., *Objets Kairouanais*, XI, fasc. 2, Tunis, 1952, pp.411–33.  \n*Tunez, Tierra de Culturas* (exhibition catalogue), Valencia, 2004, p.218.  \nWard, R., *Islamic Metalwork*, Milan, 1993, pp.11, 68.  \n*Ifriqiya: Thirteen Centuries of Art and Architecture in Tunisia*, pp.159–62.","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["calligraphy","floral decoration","furnishing"],"materials":["moulded","perforated bronze."]},"69dda59b-a55b-509a-b9d7-29cd7f1b522f":{"name":"Padlock","short_description":"This lock belongs to a group of bar-shaped padlocks from the Bumiller Collection. It is almost completely preserved, although relatively fragile. The general shape of a lock resembles an elongated rectangle with a bulge below the keyhole. The locking mechanism could not be determined. The key is missing, probably a turn key because of the pin in the middle. The keyhole itself was presumably once hidden as a lug above it indicates.  \nThe outer surface shows a rich ornamental decoration. At the top, where the bar is placed, two small animals are cast facing each other. Their nature could not be established definitely, but clearly quadruped mammals are depicted, possibly dogs or bears.  \nDating this particular lock was difficult. The form and shape of the lock seem to have been in use from early periods on, through several centuries. Two comparable pieces exist that are fairly similar to this one, but their dating differs. One belongs to the Keir Collection and is found today in the Dallas Museum of Art. It was dated to the 13-14th century (K.1.2014.508). The other one is part of the Tanavoli Collection and was dated to the pre-Islamic era.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 1st-8th century / AD 7-14th century","location":"Bamberg","dimensions":"Height: 6.4cm, Length: 8.8cm, Width: 2.2cm","provenance":"Persian World","obtention":"Purchased from Ibrahimi, Hamburg in 1998","bibliography":"Tanavoli, P. and Wertime, J. T., *Lock from Iran Pre-Islamic to twentieth century*, Washington: Smithsonian Institution, 1976: 52-56.","author":"Tamara Haller","copy_editor":"Daniel de la Vega","materials":["Bronze or copper alloy","joint and engraved","parts cast"]},"69f100f8-b478-59cb-921a-5cdfd266ab6e":{"name":"Vase.","description":"This vase is composed of a raised base, a pear-shaped body and a long neck ending on top with the mouth of the vase. The mouth is characterised by a flat edge and four pierced holes. The neck in turn contains three decorative bands. The first band is ornamented with vegetal and geometric motifs interspersed by three medallions, each of which is filled with vegetal decoration made up of six petals of silver, edged in gold. The second band is adorned with vegetal decorative motifs, interrupted by three circular cartouches. Each cartouche is filled with vegetal motifs and depictions of flying ducks. The areas between the cartouches bear inscriptions in Mamluk *naskhi* script that read: 'One of the things made for the sublime Excellency, al-Sayfi Toghostomor al-Malaki al-Nasiri.' The third band is adorned with decorations that are identical to those on the first band. The neck of the vase is attached to the body by a prominent circular band decorated with vegetal ornamentation.  \nThe body of the vase is composed of five bands edged in gold and decorated in silver. The first band is decorated with vegetal motifs, interrupted by three-lobed roundels, each of which is adorned by a lotus blossom. The second band is decorated by three large segmented roundels, each of which contains a blazon mounted on top with a band. Each blazon has in its centre a one-headed eagle with a depiction of a cup underneath it. The band contains an inscription in *naskhi* script, inlaid in gold against a background of vegetal decoration in silver, the text of which reads: 'One of the things commissioned for the honourable Excellency/ the sublime master, the great *amir*, al-Sayfi /Toghostomor al-Malaki al-Nasiri'. The text alludes to Toghostomor, who was one of the *amir*s of Sultan al-Nasir Muhammad ibn Qalawun who ruled three times: AH 693–4 / AD 1294–5; AH 698–708 / AD 1299–1309; AH 709–41 / AD 1309–40. Amir Toghostomor held a number of offices in the sultan's palace amongst which was the position of cup-bearer, i.e. the person responsible for the sultan's drinks. The third decorative band is also interrupted by three lobed medallions, inside each of which is a depiction of a lotus blossom. As for the forth and fifth bands, they are characterised by vegetal decorative motifs, lotus blossoms and flying ducks.  \nThe base of the vase is decorated by a band interrupted by three cartouches. Inside each cartouche there is an undulating or spiral decorative pattern set against a background of vegetal decorative motifs. The band also bears an epigraphic inscription indicating that the owner of the vase is Amir Toghostomor.","short_description":"This brass vase, decorated with vegetal and geometrical motifs, birds, and epigraphic inscriptions, bears the name of its owner, Amir Toghostomor, the Sultan's cupbearer, and his blazon composed of an eagle with a cup underneath. Such masterpieces were widespread in the Mamluk period.","type":"Vase, metalwork","holder":"Museum of Islamic Art","initial_owner":"Amir Toghostomor.","dates":"Hegira 8th century / AD 14th century.","location":"Cairo","dimensions":"Height 31.5 cm, diameter 17.5 cm.","method_for_datation":"The vase is dated based on the inscriptions mentioned above, which allude to Toghostomor al-Malaki al-Nasiri as the owner of the object.","method_for_provenance":"The provenance of this object was narrowed down to Cairo in Egypt in view of the fact that Amir Toghostomor was responsible for serving drinks to Sultan al-Nasir Muhammad. This is in addition to the spread of the type of decorative style present on the vase to other pieces which have been attributed to Cairo. Furthermore the city was famous for its inlay work, to the point that the historian al-Maqrizi mentions in his *Khitat* (1999) that at that time there was not a house in the city that was entirely devoid of inlayed works.","provenance":"Cairo, Egypt.","obtention":"This vase was bought from the antiquities dealer, Ralph Harari in 1945.","bibliography":"Allan, J., *Metalwork of the Islamic World: the Aron Collection*, London, 1986.  \nAl-Maqrizi,Taqi al-Din Abi al-Abbas (d. 845 / 1442), *Al-mawa'iz wa'l-itibar bi-Dhikr al-Khitat wa'l-Athar (Exhortatons and Contemplations of the Recollection of Plans and Monuments),* Cairo, 1999.  \n'Ashur, Said Abd al-Fatah, *Al-'Asr al-Mamluki fi Masr wa al-Sham \\[The Mamluk Period in Egypt and the Levant/Sham Region\\]*,Cairo, 1965.  \nAl-Pasha, H., *Al-Funun al-Islamiya wa al-Wadha'if ala al-Athar al-Arabiya \\[Islamic Arts and Occupations on Arab Monuments\\],* Vol. 2, Cairo, 1966.  \nAtil, E., *Renaissance of Islam: Art of the Mamluks,* Washington D.C., 1981.  \nHamdi, A., et al, *Katalog Ma'rid al-fan al-islāmi fi misr \\[Catalogue of the Islamic Art Exhibition in Egypt\\],* Cairo, 1969.  \nStierlin, H., and Stierlin, A., *Splendours of the Islamic World: Mamluk Art in Cairo (1250–1517),* London, New York. 1997.  \nTakush, M. S., *Tarikh al-Mamalik fi Masr wa Bilad al-Sham \\[History of the Mamluks in Egypt and the Levant/Sham Region\\],* Beirut, 1997.","linkcatalogs":"IAM_EG_EN_001","author":"Al-Sayyed Muhammad Khalifa Hammad","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["blazon","copper.","epigraphic decoration","Flying duck","geometric decoration","inlay","inscription","vase","vegetal decoration"],"materials":["Brass inlaid with gold and silver."]},"6a2319dc-c001-58b4-a048-bd55561d140e":{"name":"Yataghan","short_description":"This is the earliest known Imperial Ottoman *yataghan* believed to be commissioned by Sultan Bayezid II (r. AH 885-917 / AD 1481-1512). It is a Turkish weapon used by elite troops of the Ottoman army (janissaries) from the AH mid-9th to 13th century / AD mid-15th to 19th century. An inscription executed in *thuluth* script in gold overlay on both sides of the blade and along its spine, bearing the names of the Sultan, its owner, maker and benedictory inscriptions enumerating the Sultan’s attributes.","type":"Arms, armours","holder":"Museum of Islamic Art","dates":"Hegira late 9th - early 10th century / AD late 15th - early 16th century","location":"Doha","dimensions":"Height: 74.5 cm, width: 4.5 cm, depth: 4.5 cm","provenance":"Turkey, Istanbul","obtention":"Sultan Mehmed VI (1861–1926), Istanbul; Rex Ingram (1893–1950), Nice; his estate sale, A. N. Abel Auction Company, Los Angeles, 1989; sold through Bashir Mohamed Ltd in 1997; Khalil Talhouni Collection of Important Islamic Art until 1997; sold to Qatar Museums","bibliography":"Al Khemir, Sabiha, *From Cordoba To Samarqand, Masterpieces from the Museum of Islamic Art in Doha*, Milan: Musée du Louvre Editions, 2006.  \n  \nJodidio, Philip, *Museum of Islamic Art, Doha Qatar*, London: Prestel Verlag, 2008.  \n  \nGonnella, Julia, et al. *Museum of Islamic Art: The Collection. *London: Thames & Hudson, 2022.  \n  \nWatson, Oliver, *Museum of Islamic Art, Doha, Qatar*, Munich: Prestel Verlag, 2008.**","author":"Tara Desjardins","keywords":["amrs","armours","Bayezid II","diplomatic gift","Hersekzade Ahmet Pasha","inscription","military","Ottoman","sword","Turkey","weapon"],"materials":["Black Compound Gold","Forged Steel","Gold inlay","Iron Alloy","leather","metal thread","Wood"]},"6a324447-7b91-5b03-8849-dcc2004c7018":{"name":"Basin","short_description":"The basin shows scenes with the ruler seated cross-legged, musicians and his guard of honour. The guards were court officials or *emir*s who are depicted in groups of five walking in procession and holding the insignia of their office: an axe, a cup – the symbol of the cup-bearer –, a sceptre, a stick – probably a polo stick –, swords, and a goose – perhaps the symbol of the official in charge of the royal hunt.","type":"Basin, metalwork","holder":"Benaki Museum","dates":"Hegira 7th-8th century / AD late 13th-early 14th century","location":"Athens","dimensions":"Diameter 38.5 cm.","provenance":"Syria","keywords":["Basin","Mamluk","metalwork"],"materials":["Brass with traces of silver inlay"]},"6a3340c0-c680-5459-91d6-e838dcb5662c":{"name":"Mortar (*havan*)","description":"Mortars exist in varying sizes, some more easily suited to being handheld while others, such as this larger (and heavier) example, most likely was placed on a flat surface. This bronze mortar (*havan*) is octagonal – its edges considerably worn – around a cylindrical container with an everted rim and widening base. Moulded bull’s heads on two sides are fitted with looping ring-handles to facilitate transport of this heavy vessel. Its body is divided into three horizontal registers incised with a combination of running animals, calligraphic inscriptions and foliate scrolls. The middle panel features a series of single or triple beads in high relief, framed by polylobed arches – probably designed to hold the vessel more securely in place when grinding with a pestle. A band of eight panels of Kufic calligraphy alternating with foliate roundels runs around the top rim, forming a continuous blessing to an unknown patron. Two panels read: “*al yamoon wa … albta lmaa hbaa*” (continuous prosperity … eternal glory), with “*al-barakat*” (blessing) also legible. The upper band features the same decorative motif, yet the calligraphy is written in naskh script, with the word *al-izz* faintly visible. The lower band is engraved with running animals (a dog or feline) chasing its prey, a motif commonly seen across metalwork and lustre-painted ceramics from the period. The combination of both scripts (Kufic and naskh), appears less frequently, however, and suggests that this mortar is a transitionary one between the late Seljuk and Ilkhanid periods.","type":"Metalwork","holder":"Museum of Islamic Art","owner":"Qatar Museums","dates":"Hegira late 6th, early 7th century / AD 12th, early 13th century","location":"Doha, Qatar","dimensions":"Diameter: 20.2cm, height: 14.9cm","place_of_production":"Western Iran","provenance":"Western Iran","bibliography":"Fraser, Marcus, *The Honar Collection of Islamic Art*, 2008.","author":"Tara Desjardins","copy_editor":"Judy Harter","materials":["Cast copper","tin","zinc and lead alloy"]},"6c348586-1356-5ba4-b2b5-0c09d19282dc":{"name":"The Victims of Labour","alternate_name":"*Le vittime del lavoro*","description":"Vincenzo Vela studied at the academy of Fine arts of Brera and at the age of 22 he won an Academy of Venice competition. The artwork is an homage to the workers who died during the construction of the Gotthard Tunnel between 1872-82, which had implemented new cost-lowering techniques that also caused numerous incidents and loss of life. Work conditions were very unhealthy: temperatures over 30 degrees, gas exhalations and no air shafts. Even the accommodations were unhealthy and dirty. When the workers went on strike for the inhumane conditions, police shot at protesters, killing four workers. The miners in *The Victims of Labour* are depicted carrying the body of a dying classmate on a stretcher out of the tunnel. A self-portrait of the sculptor is recognisable in the classmate’s face. The harsh modelling of the workers’ bodies, almost deformed, makes the scene even more powerful. The artist affirmed he had no commission for this work which was a passion project. In 1895 it was cast in bronze on request of the Ministry of Education; in 1900 it was sent to the Universal Exhibition in Paris.","type":"Sculpture","holder":"National Gallery of Modern Art (GNAM)","dates":"1882 (fusion 1895)","location":"Rome","copyright":"Copyright image: Soprintendenza alla Galleria Nazionale d'Arte Moderna e Contemporanea.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"6c54efb2-f695-580b-805f-f38df23ae55f":{"name":"Hand basin","description":"It was a widespread custom in the Islamic world to wash one’s hands before entering a house, and basins like this one were used before meals as well. The lid is perforated so that the sight of dirty water did not bother the guests. An equally richly decorated ewer once made up a set with the basin.  \n  \nThe embossed silver basin has elegantly conceived and deeply engraved decorations featuring gazelles, flowers and other ornamentation filled out with transparent enamel. There are less costly basins with simpler decoration of the same type made of bronze and bidri metal.","type":"Washing basin","holder":"The David Collection","owner":"The David Collection","dates":"AH 12th / AD end of 18th century","location":"Copenhagen","dimensions":"Height: 13cm; Diameter: 31.3cm","place_of_production":"Lucknow (India)","bibliography":"Folsach,K., *Art from the World of Islam in The David Collection* Copenhagen: The David Collection, 2001: cat.no. 544.  \n  \nFolsach, K.,*et al.*, *Sultan, Shah and Great Mughal: the history and culture of the Islamic world*, Copenhagen: The National Museum, 1996: cat.no. 351;  \n  \nTerlinden, C., *Magnificence de l'argenterie moghole (XVIème-XIXème s.) (Mughal silver magnificence (XVI-XIXth c.))*, Bruxelles: Musée d'art et d'histoire de Genève, 1987: 122.  \n  \nZebrowski, M., *Gold, Silver & Bronze from Mughal India*, London: Alexandira Press, 1997: fig. 72.","copy_editor":"Zeina Al Amad","keywords":["Basin","Enamel","silver","water"],"materials":["and crimson enamel","embossed silver inlaid with blue","green","parcel-gilt"]},"6cd11199-5a66-5c15-872a-057190826a48":{"name":"Rosewater sprinkler","description":"This *mirash* vessel is designed to hold and sprinkle rosewater onto the hands of guests as a sign of hospitality. These vessels come in a variety of shapes and decorations; the people of the Green Mountain in eastern Oman have traditionally pursued this craft for thousands of years, and their goods are known today for their quality and precision in manufacturing.","type":"Metalwork, brass","holder":"The National Museum - Sultanate of Oman","dates":"Hegira 12th–13th/AD 18th–19th century","location":"Muscat, Sultanate of Oman","dimensions":"Height: 30.5cm, diameter: 10.5cm","provenance":"Northern Oman","author":"Noora Al Balushi","copy_editor":"Alvaro Miranda"},"6f3c1d83-c1d2-5207-a72e-e6b0bd916f8d":{"name":"Sword and scabbard","short_description":"The Ottoman sword is made by one of the master sword smiths of the late 18th and early 19th century, Ahmad al-Khurasani. He served under the Ottoman royal patronage at the sword smiths’ guild “the *simsirgeran*” together with renowned masters such as Acem Oglu, Ismail al-Farghani, Osman ibn Haji Muhammad and Qara Sabar al-Erserumi. All share similar elements and standard decorations of typical Ottoman swords produced in the 18th and 19th centuries. This style highlights the curved blade with chiselled and gilded foliage on a recess and *kufic* inscription arranged along the blade. The hilt takes the shape of a pistol grip made of horn and the wooden scabbard mounted with gilded sheets. The blade has been inscribed with Qur’anic verses and signed with the maker’s name in square *kufic* panel.","type":"Arms and Armour","holder":"Islamic Arts Museum Malaysia","dates":"Hegira 12th century / AD 18th century","location":"Kuala Lumpur","dimensions":"90cm","provenance":"Turkey","bibliography":"Alexander, David G., *Islamic Arms and Armor in The Metropolitan Museum of Art*, New Haven: Yale University Press, 2015.","materials":["leather-covered wood scabbard with gilt mounts and two hooks for hanging","Watered-steel (Kara-Khorasan) blade with the hilt set with horn grips with silver rivets"]},"6f7e3d5d-1248-5ae8-98aa-b2281a1c77c0":{"name":"Incense burner.","description":"A bronze incense burner with a cylindrical body and projecting circular ridges at both top and bottom; the lower ridge is enhanced by a guilloche band. Three profiled legs that were originally longer and which once had projecting feet (now curtailed) support the object. The feet have small arabesque cartouches at the top and symmetrically disposed leaf scrolls at the bottom. The body is hollow and its upper aperture is closed-off by a solid plaque with a circular cavity in the centre.  \nThe burner has a hinged dome-shape cover that is a crude modern replacement; this is topped by a skittle-shaped knob. Originally the lid would have screwed on to the body by means of a flange and ring. To the right of the hinge four crudely cut holes correspond to the tips of an incised quatrefoil which indicates the area where a long, horizontal handle would originally have been attached.  \nThe incense burner is incised and has remnants of its original silver inlay, on both the body and lid. The finial on the lid is enhanced by an intertwining garland of lancet leaves pointing upwards to the top of the finial. A *kufic* inscription band runs around the base of the finial. It reads: ‘al-‘izz al-da’im wa’l ‘amr al-salim wa’l iqbal al za’id al-jadd li sahibihi’. (‘Enduring power and full life, continuous well-being and happiness to its owner.’). Below this, the remaining surface of the lid is enhanced by a broad decorative band enclosed by borders of geometric interlacing. Within these borders elongated and symmetrical arabesque designs, executed in openwork, alternate with roundels filled with geometric T-fret patterns.  \nThe body of the burner is similarly decorated with a broad decorative frieze supported top and bottom by geometric interlacing. Within a succession of cusped arches six figures are enclosed set against a scrolling background. These arches with figures alternate with five symmetrically disposed arabesque designs. This design is interrupted once only by a large (but possibly not contemporary) quatrefoil. The figures, dressed in long, hooded garments, are shown upright and in profile, apparently walking towards the left, and each one supported by a long staff. All are identical in appearance apart from the figure to the right of the quatrefoil, who is bearded and whose body is bent over his staff as if he is elderly.","short_description":"This incense burner with Arabic blessings and a frieze of hooded figures may have been used in a church. Objects combining Muslim and Christian elements were common in AH 7th- / AD 13th-century Syria and Iraq, where Christians, Jews and other religious minorities lived alongside their Muslim neighbours.","type":"Metalwork, stone, bronze","holder":"National Museums of Scotland (NMS).","dates":"Hegira mid- to late 7th century / AD 13th century.","location":"Edinburgh, Scotland","dimensions":"Height 16.51 cm.","method_for_datation":"Eva Baer (1989) has identified this object as belonging to a group of metalwork pieces with Christian themes executed in either Syrian or Mesopotamian workshops in the mid- to late 7th / 13th century.","method_for_provenance":"Eva Baer (1989) has identified this object as belonging to a group of metalwork pieces with Christian themes executed in either Syrian or Mesopotamian workshops in the mid- to late 7th / 13th century.","provenance":"Syria or Iraq.","obtention":"A Gift from the National Museum of Antiquities of Scotland in 1956.","bibliography":"Baer, E., *Ayyubid Metalwork with Christian Images*, Leiden / New York, 1989, p.10.","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["Christian themes","kufic script"],"materials":["Cast and incised bronze with remains of silver inlay."]},"6f8da139-652e-5288-9a4f-1bb9c9414d5b":{"name":"Artuq Shah's mirror","short_description":"This might be the most famous mirror from the Islamic cultural sphere. It was published as early as 1811 as being in a French collection and was made for the last Artuqid ruler of the Khartpert line: Artuq Shah. It is difficult to interpret the date, which coincides with either Artuq Shah’s childhood or the period after he had been deposed by the Seljuks of Rum.","type":"Mirror, metalwork","holder":"The David Collection","dates":"Hegira 600 or 660 / AD 1204 or 1262","location":"Copenhagen","provenance":"Eastern Turkey","keywords":["Artuq","metalwork","mirror"],"materials":["Cast bronze"]},"6f9fb1e8-99e0-571f-8a20-02431dd74f73":{"name":"Yatagan","description":"This yatagan boasts the typical traditional ear-shaped hilt, fastidiously decorated with gems, and a blade decorated with simple ornaments. The scabbard is made of sheet metal, the fittings are made of punched brass. The condition is used, with signs of age and regular wear and some gems have been lost. The scabbard is partially showing signs of removed rust and has some minor bruises and spots. This yatagan seems to have been a well-worn part of its owner’s attire.","type":"Arms; sword","holder":"Austrian Military Museum / Institute of Military History","dates":"19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"707e3119-1895-51ef-95aa-cf18a89fd850":{"name":"Ewer","description":"A narrow-necked body rises to a considerably wider main body, with a total of eleven projections of varying sizes extending outward from its upper surface. The handle is riveted at one end to the center of the body and at its two other ends to either side of the mouth; a clasp at the top of the handle secures the lid. The handle is decorated with cross motifs. The spout, designed for pouring, is beak-shaped, open at the top and adorned with floral motifs. The lid begins broadly and tapers into a minaret-shaped neck. Both the top surface of the lid and the base feature four rounded, outward-pointing reliefs. The ewer is in good condition and retains a brown colour.","type":"Ewer","holder":"Şanlıurfa Museum Directorate","location":"Şanlıurfa","dimensions":"Base width: 12cm, height: 48cm, mouth diameter: 8cm, lid height: 15cm","place_of_production":"Şanlıurfa","copy_editor":"Alvaro Miranda","keywords":["bronze","Copper","ewer","Ottomans","water"],"materials":["cast with relief decoration","Copper-bronze"]},"7199d68a-348d-576d-aeea-208474c30673":{"name":"Copper alloy basin","alternate_name":"Basin  for ablutions","short_description":"A round basin with a flat base and sides rising to an everted scalloped rim with 16 lobes.  \nThe interior is engraved with a central rosette surrounded by concentric decorative bands of alternating spirals against a dotted ground; *kufic* script inscriptions; sunray motifs; and, just below the rim, a band of pseudo-calligraphy. There is no decoration on the outside of this basin.  \nThis type of basin held water for use in daily ablutions prior to prayers.","type":"Basin","holder":"Sharjah Museum of Islamic Civilization","dates":"6th-7th century AH / 12th-13th century AD","location":"Sharjah","dimensions":"Height: 12.5cm, Diameter: 46cm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Khorasan / Eastern Iran","obtention":"Purchased","author":"Hazelle Page","keywords":["Ablutions","Basin"],"materials":["Copper alloy","engraved","hammered","raised"]},"729b315c-3fb9-575e-96d9-d9e48639cd90":{"name":"Revolver","alternate_name":"Leopold Gasser revolver; 'Montenegrin' revolver","description":"Revolver of Leopold Gasser (serial number 8106) used for land/terrestrial defence as opposed to the navy. It is also known as “Montenegrin” as it was used not only by the Austrian army but also by the army of Montenegro. The exterior was nickelled, but the nickel finish has mostly worn away leaving only traces on the barrel and the frame. The revolver is fitted with genuine ivory grips. The absence of any indication for Austria and the presence of the crown “R” might indicate to its production in Liege/Belgium.","type":"Handgun; arms; firearms","holder":"Jordan Folklore Museum, Department of Antiquities","dates":"Late 19th century – early 20 century","location":"Amman","provenance":"Belgian copy of Leopold Gasser revolver","author":"Mohammad Najjar","copy_editor":"Daniel de la Vega"},"72a2a91b-5a58-5ade-a2c7-b36c74afcc72":{"name":"Hand carder","description":"Carding is the preparation of raw, unordered or washed fibres to prepare them for spinning into long spirals. Carding can be used to create blends of different fibres or colours. Once carded, fibres can be used in a variety projects including spinning, weaving and felt making.","type":"Carding tool","holder":"Jordan River Foundation Bani Hamida Weaving Project","dates":"1916","location":"Mukawer","dimensions":"L: 20cm, W: 13cm","method_for_datation":"Owners","provenance":"Bani Hamida","obtention":"Bought","author":"Halima Al Qa'dan","copy_editor":"Lisa Kelman","materials":["Wood and iron"]},"72af2284-7a5c-549f-b6a6-50551b0c8373":{"name":"Incense Burner","short_description":"This hollow cast incense burner is in the shape of a partridge. Inlay work can be found on the whole body, openwork on neck, chest, wings, back and tail.  \nCharacteristic for the head are the quadratic, elevated eyes, ears and the slightly curved comb. Medallions and compartments of varying shapes with tendrils, geometric patterns and six-petalled blossoms are placed on head and neck. The centre of the chest has a quadratic opening with a drawer. Its panels are decorated with inlaid and perforated tendrils and geometric patterns. The bottom of the chest is framed by an angular inscription which is interrupted by a six-petalled blossom. The wings are elevated and its tips protrude. Inlayed and perforated elements can also be found at the back and tail.  \nIts three feet differentiate it from a realistic representation and bring it closer to a mythical creature. A similar piece can be found in The MET (Inv.No. 2008.460).","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 6-8th century / AD 12th-14th century","location":"Bamberg","dimensions":"Height: 38.2cm, Width: 29.2cm, Weight: 3.163kg","method_for_datation":"Based on a stylistic analysis of its motifs and similiarities to objects of other collections.","provenance":"Persian world","obtention":"Purchased from Ali Ahmadi, Teheran in 2013","bibliography":"Baer, Eva, *Metalwork in medieval Islamic art*, Albany: State University of New York Press, 1983: 58-59.  \nFehérvári, Geza, *Islamic metalwork of the eighth to the fifteenth century in the Keir Collection*, London: Faber and Faber, 1976: Plate 37a (Objekt 109).","author":"Anita Mangalath","copy_editor":"Daniel de la Vega","keywords":["Afghanistan","animal","bird","bronze","Incense burner","Inlaid metalwork","inscription","Iran","Iranian world","metalwork","Patridge","Persian world"],"materials":["Bronze","cast","engraved","inlaid","perforated"]},"72d97a33-faa9-5945-a6f9-e8d7c8992dc4":{"name":"Plate and ablution ewer","description":"The porcelain plate depicts a ritual washing ceremony, in which a servant pours water from an ewer for ablution. This scene illustrates the importance of cleanliness and ritual purity in Ottoman daily and religious life. The accompanying basin and ewer set, produced in the Süleymaniye workshop tradition, reflects the same function represented in the image. Such basin–ewer sets were commonly used indoors for ablution (*wudu*), particularly before prayer, as well as for washing hands after meals.  \n  \nBeyond their practical purpose, these objects held symbolic meaning, emphasising purity, hospitality and respect for religious practice. Through both the visual narrative on the porcelain plate and the physical form of the basin and ewer, the work highlights the central role of water in Ottoman ceremonial, domestic and spiritual culture.","type":"Ablution set","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 13th / AD 19th century","location":"Istanbul","place_of_production":"Istanbul","method_for_datation":"Date and origin are written on the piece.","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["Ablution","ewer","Plate","water","wudu"],"materials":["brass","Porcelain"]},"73c32255-eecb-5121-b674-c388b401bbb6":{"name":"Charcoal iron","description":"A heavy iron box with a triangle-shaped lid with a handle and a hollow interior that could hold smouldering charcoal to keep the iron hot. This object of everyday use illustrates how the changes in mundane life affected society at a global level. Objects like this were traded locally within Jordan.","type":"Domestic Utilities; domestic furniture; metalwork","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"760fa584-9cdb-54e9-a484-39638db07064":{"name":"Moorish dagger","alternate_name":"Gumía, Kommeyya","description":"This dagger, along with other pieces, was taken by Salvador de Foronda, a member of the Spanish Army, awarded for his actions in battle. He was a relative of the Marquis of Cerralbo and donated to his uncle’s museum these exceptional pieces in 1918. This piece is enriched with damascene work, and the fabric rope still holds some metallic threads. This dagger was a traditional self-defence tool for North African men.","type":"Armoury","holder":"Cerralbo Museum","dates":"19th century","location":"Madrid","provenance":"North Africa","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell"},"763d6e83-1558-5793-8fef-f63ff6bf1c79":{"name":"Water flask","description":"Flask of zamzam water collected by Sir Richard Francis Burton during his visit in disguise to Mecca. Burton was a diplomat, explorer and author. He published a translation of the *Arabian Nights*.","type":"Flask","holder":"The British Museum","dates":"c. 1853","location":"London","provenance":"?"},"763ee7df-878c-58a5-84f4-122b7dc9a7e0":{"name":"Helmet","description":"This Islamic helmet, known as a \"casque de Rostem\", has Persian origins. It is 21 cm long from its tip to the joint at the front, the serrated iron mesh is 30 cm long, and the front perimeter is 70 cm long. This helmet is lavishly decorated, coming to two points on either side, and with an Ottoman point at the front and floral motifs all over the surface.","type":"Ironwork","holder":"Palais de la Rose – Musée de l’Armée","dates":"19th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"769f5fbf-87c9-548e-bbeb-0427004b6c64":{"name":"Inkstand.","description":"The decoration on this small cylindrical writing implement consists of a frieze composed of four round medallions. One of the medallions shows a depiction of a rider with cheetahs. These animals were especially trained for hunting, in order to accompany the rulers on their hunts. One of the riders hunts with bows and arrows, another appears with a hunting falcon resting on his arm, and another with an attacking lion. Symmetrical arabesques featuring animal motifs and a depiction of the sun provide the decorative backdrop to these symbols of power of the ruling class. The horizontal (middle) axis depicts heads of lions and bulls (Leo and Taurus) and the sun. The tendrils end in pairs of fish (Pisces), birds, sphinxes and ibexes (Capricorn). They are highly fantastical. The bottom part is decorated with a plaited ornamental band. The imagery of plant tendrils ending in animal heads originated during the AH 6th / AD 12th century in the eastern part of the Islamic world, but it was also used by artists in the AH 7th / AD 13th century in the lands ruled by the Ayyubids, and in the kingdom of the northern Iraqi prince Badr ad-Din. Later, it was also of importance in the metalwork of the Mamluks.  \nOn the top of the inkstand there is a semi-circular opening with a lid in which to fit an inkwell, and two circular openings to hold feather quills. This part is most probably a work of restoration done during the Mamluk period. It is decorated with a blossom motif, but the quality of this decoration does not match that of the rest of the receptacle in terms of artistic skill.  \nThe owner of such an inkstand would be considered to be an educated man who had mastered the art of writing, which, due to its use in the Qur’an, was highly esteemed in the Islamic world. The Qur’an was believed to be the revelation of the Prophet Muhammad, and is still written in Arabic script today.","short_description":"This cylindrical inkstand was used as writing tool. It has receptacles for ink and writing implements and is decorated with silver inlay showing scenes of the royal hunt. Learned scribes of the period were proud of their decorated inkstands and so this may have been commissioned by a scribe.","type":"Inkstand, metalwork","holder":"Museum of Islamic Art at the Pergamon Museum","owner":"Museum of Arts and Crafts, Berlin.","dates":"Hegira second half of the 7th century / AD second half of the 13th century.","location":"Berlin","dimensions":"Height 6.5 cm, diameter 7 cm.","method_for_datation":"Comparisons of the ornamentation have led to the conclusion that this inkstand most probably dates from the second half of the 7th / 13th century.","method_for_provenance":"It cannot be unequivocally established whether its origins lie in Syria or Iraq, because inlaid metalwork was created throughout the region.","provenance":"Syria or Iraq.","obtention":"Acquired in 1890 by the Museum of Arts and Crafts, Berlin from A. Cantoni in Milan. Transferred as a long-term loan.","bibliography":"Allan, J. W., *Islamic Metalwork: The Nuhad es-Said Collection*, London, 1982, pp.32–9.  \nBaer, E., *Encyclopaedia Islamica*, Supplement 3–4, Leiden, 1981, pp.203–4.  \nHagedorn, A., *Die Blacas-Kanne: Zu Ikonographie und Bedeutung Islamischer Metallarbeiten des Vorderen Orients im 13. und 14. Jahrhundert*, Münster, 1992, no. 128.  \n*Museum für Islamische Kunst*, Catalogue, Berlin, 1979, no. 370.  \nWard. R., *Islamic Metalwork,* London, 1993, pp.71–93.","author":"Annette Hagedorn","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["arabesque","Ayyubid","Inkstand","inlay","Mamluk"],"materials":["Bronze","engraved","silver inlay."]},"7772ba8d-d622-5bc4-ab56-8db31029c55a":{"name":"A large metal tray with a view of Mecca","short_description":"This large metal tray with scalloped rim is painted with a view of Mecca and the Masjid al-Haram surrounded by floral bouquets on a bright green ground. It was probably made in the 19th century in Europe for the Ottoman market. This style of tray was often made with central depictions illustrating significant locations in Istanbul, which makes this view particularly unique.  \nThe depiction of Mecca is clear and striking, some significant locations in the vicinity depicted as small buildings and domes, including the Mu‘alla graveyard (to the bottom left) and a mosque (to the top left) which used to stand at the cave of Hira on top of Jabal al-Nur, the place where Prophet Muhammad received his first revelation.","type":"Painted tray","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD 19th century","location":"London","dimensions":"Diameter: 87cm","method_for_datation":"Date and provenance based on stylistic grounds.","provenance":"Europe","obtention":"Christie’s, London, 27 April 2017, lot 183","author":"Qaisra Khan","keywords":["European influence","geography","hajj","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","pilgrimage","prayer","Prophet Muhammad","Religion"],"materials":["metal"]},"7880da99-920b-55f6-96f5-fef705dd2448":{"name":"Ewer","short_description":"A heavy cast bronze ewer with a pear-shaped body and narrow neck, embellished with two-tiered teardrop-shaped bosses belongs to the group of post-Sassanian type of vessels from Khorassan, Eastern part of Iran. The foot was added to the ewer later.","type":"Metalwork","holder":"The Khanenko Museum","owner":"The Khanenko Museum","dates":"AD 10th–11th century","location":"Kyiv","dimensions":"Height: 33cm","method_for_datation":"Stylistic analysis by V. Krachkovskaya (1926, date), L. Guzalian (consultation, 1953, origin), B. Marshak (consultation, 1975, date specified).","method_for_provenance":"Publication of Vera Krachkovskaya (1927). Old Museum Inventory Register (1925-1946).","provenance":"Khorassan, Iran","obtention":"Purchased by Bohdan and Varvara Khanenko. Donated by Varvara Khanenko in 1918, nationalised by Bolshevik regime in 1919.","bibliography":"Bilenko, H. and Rudyck (Rudyk), H., *Oriental Collection*, guidebook, Kyiv: The Khanenko Museum, 2005.  \nKrachkovskaya, V., \"Musulmsnskoye iskusstvo v sobranii Khanenko (Muslim Art from the Khanenkos' Collection)\", in Bartold V.V. (ed), *Zapyski Kollegii Vostokovedov (Notes of the College of Orientalists)* at Asian Museum of USSR Academy of Sciences, Vol II, Leningrad: USSR Academy of Sciences, 1927.  \nMarshak, B., \"Bronzovyj kuvshyn iz Samarkanda\" (Bronze Ewer from Samarqand), *Srednyaja Azija i Iran (Middle Asia and Iran)*, (1972): 61-90.  \nMelikian-Chirvani, A. S., *Le bronze iranien*, Paris: Musée des arts decoratifs, 1973.","author":"Antonina Makarevych","copy_editor":"Janice Medina","keywords":["bronze","ewer","Iran","Khorassan"],"materials":["cast","Copper alloy (bronze)"]},"7946f4ef-0ea4-5164-872a-a8f57f54d100":{"name":"Oil lamp","short_description":"Oil lamps of this type are generally thought to be early Islamic. This particular piece has a small, shallow body with a slightly emphasized rim. Its spout is keel-shaped with two small round flanges on the sides. The handle is made from a ring with presumably a three-lobed thumb rest. But this is broken off, so the original size and shape can merely be guessed. On the side of the body also two small three-lobed flanges are found, though on the left-sided one the tip is broken off. The handle and the flanges show small round drill holes. Apart from that, the object features no decoration and appears fairly unadorned on the whole. The base is flat and does not feature a foot.  \n  \nIt shows close resemblance to an object from Khurasan or Afghanistan presented by Eva Baer. She shows that the shape of the body derives from Byzantine predecessors. The original spouts are of tubular shape. Another lamp from Maimana, Afghanistan is an example of an Islamic adaptation with a slight change, as the spout is now triangular and attached instead of growing out of the body. The Bumiller object does again show a slight modification as the spout here is keel-shaped and merged with the base of the lamp.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 3-4th century / AD 9-10th century","location":"Bamberg","dimensions":"Height: 3.7cm, Length: 12.4cm, Width: 8cm","method_for_datation":"By stylistic analysis and through comparison","provenance":"Persian World, possibly Khorasan","obtention":"Purchased from Hardt, Radevormwald 1985","bibliography":"Allan, James W., *Nishapur. Metalwork of the early Islamic period*, New York: Metropolitan Museum of Art, 1982.  \nBaer, Eva, *Metalwork in medieval Islamic art*, Albany: State University of New York Press, 1983.  \nDahncke, Monika and Bumiller, Manfred, *Frühislamische Bronze-Öllampen und ihre Typologie. Bumiller-Collection, Schriften zur Islamischen Kunst- und Kulturgeschichte 2*, Panicale: Bumiller, 1992.","author":"Verena Daiber","copy_editor":"Daniel de la Vega","keywords":["early islamic","metalwork","oil lamp"],"materials":["Bronze","cast","drilled","forged"]},"79968466-a94b-5053-a5e9-1155df32e285":{"name":"Wash basin and jug.","description":"The jug and basin were used at court on dining tables for the washing of hands. Medieval Arabic sources include descriptions of this sort of utensil. The daughters of amirs, viziers, high-ranking noblemen, officials and merchants all had this hand-washing equipment as part of their trousseau. Judging by the iconographic motifs of its decoration, the Berlin jug and basin look as if they were made for a lawyer. The inscriptions include blessings of a general nature (well-being, wealth, health, knowledge and leniency) for the unknown owner. Its original magnificence is clearly visible, as it has been excellently preserved.  \nJudging by its shape, with its flap lid and straight spout, the jug has been made as a sculpted three-dimensional form. Its body, shoulder and neck are decorated with three friezes featuring figurative motifs within medallions of different sizes. The medallions are filled with depictions of thrones and riders and images of planets. The base of the neck shows 11 arched fields with standing figures in the style of Christian representations. A unicorn is being hunted in the animal frieze on the jug’s shoulder. There are additional Arabic well-wishing inscriptions within the friezes or spread over the jug.  \nIn the bottom of the basin, six planets are drawn encircling the sun, and in a second frieze, the signs of the Zodiac are depicted in relationship to particular planets. As on the jug, the outer surface of the basin is decorated with six large medallions that depict a prince flanked by two bodyguards, scenes of hunting and revelry. They are linked together by an inscription wishing for strength and victory, knowledge and leniency, qualities belonging to Allah.  \nThe complexity of the design and the highest quality of craftsmanship substantiate the high status of the person who commissioned its making. The jug and the basin are even signed with the name of the craftsman, which demonstrates that the artist was also held in very high regard.","short_description":"The extremely fine design and workmanship of this basin and jug demonstrate the skill of the metal craftsmen working in Mosul around 1270. Commissioned by someone of high rank and depicting the planets and scenes of courtly life, the set may have been used for washing hands on special occasions.","type":"Wash basin, jug, metalwork","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"Hegira second half of 7th century / AD second half of 13th century.","location":"Berlin","dimensions":"Jug: height 37 cm, diameter 20.6 cm; basin: height 17 cm, diameter 43 cm.","method_for_datation":"The artist, ‘Ali ibn ‘Abdallah al-‘Alawi, who signed both the jug and the basin, lived during the mid-7th / mid-13th century.","method_for_provenance":"The artist, who signed both the jug and the basin, includes in the inscription of his name an indication of his town of origin: al-Mawsili, ‘from Mosul’, signifying where he was born or where he worked. The signature and the motif of the figure with a crescent in front of its body suggest that it is very probable that this piece originates from Mosul.","provenance":"Mosul, northern Iraq.","obtention":"From a private art gallery in 1938.","bibliography":"Baer, E., *Ayyubid Metalwork with Christian Images*, Leiden, 1989, pp.15-17, plates 50–1.  \nHagedorn, A., *Die Blacas-Kanne: Zu Ikonographie und Bedeutung Islamischer Metallarbeiten des Vorderen Orients im 13. und 14. Jahrhundert*, Münster, 1992, no. 28.  \nKühnel, E., “Zwei Mosulbronzen und ihr Meister”, *Jahrbuch der Preußischen Kunstsammlungen* 60, 1939, pp.1–20.  \n*Museum für Islamische Kunst*, Mainz, 2001, pp.72–3.  \nRice, D. S. “Inlaid Brasses of the Workshop of Ahmad Al-Dhaki al-Mawsili”, *Ars Orientalis* 2, 1957, pp.225–53.","author":"Annette Hagedorn","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["brass","inlay","Mosul","Zangid"],"materials":["brass","gold and silver inlay."]},"7a5bcd26-a861-59da-abb6-c182344ea092":{"name":"Basin for ablution","short_description":"A basin for ablution or bathing is one of the most common items of use in the Muslim East. The practical purpose of the object manifests itself in the fact that the basin is decorated only from the inside, which means that it was observed only from above. Whether it was about washing hands before a meal (feast), or bathing babies - by its decorative program this piece, undoubtedly, belonged to an elite consumer complex.  \nThe rich and detailed imagery together with the sophisticated, mathematically precise composition and the highest craftsmanship of engraving articulated by the (once) abundant silver inlay testify that the basin was created at the expense of great artistic, intellectual, physical and financial resources. The crenelated rim of the basin attributes the item to a limited group of vessels made in Iran at the turn of the 13th–14th centuries.  \nThe piece speaks on the key ideological concept of the Persian culture: the idea of a king’s charisma. In the centre of the composition a large medallion with a throne scene is depicted. A king sits on a throne flanked by two attendants. The ruler holds a glass of wine and a sword (both are regalia of royal power), in front of him there stands a table with a wine bottle on it. The central scene is surrounded by six smaller medallions with scenes of banquets alternating those of hunting. On the flaring inner walls of the basin in the lower tier the musicians, dancers and poets are portrayed, while in the upper case a variety of real and fantastic birds and animals are depicted that altogether symbolize the cosmic scale of royal power and prosperity.  \nThe Mongolian costumes and headdresses of the king and his escort, as well as the images of Chinese fantastic animals phoenix and qilin indicate the international connections of Iran culture during the Ilkhanid era.","type":"Metalwork","holder":"The Khanenko Museum","dates":"First half of AD 14th century","location":"Kyiv","dimensions":"Height: 17cm, Diameter: 61cm","method_for_datation":"Stylistic analysis by L. Guzalian (examination, 1953, date, origin), H. Rudyk (publication, 2017, date specified).","method_for_provenance":"Publication of Vera Krachkovskaya (1927). Old Museum Inventory Register (1925-1946).","provenance":"Iran","obtention":"Purchased by Bohdan and Varvara Khanenko. Donated by Varvara Khanenko in 1918, nationalized by Bolshevik regime in 1919.","bibliography":"Bilenko, Halyna and Vyshnevetska, Mariya, et al., *State Collections of Ukraine*, album, The Bohdan and Varvara Khanenko National Museum of Arts, 2009.  \nKrachkovskaya, V., \"Musulmsnskoye iskusstvo v sobranii Khanenko (Muslim Art from the Khanenkos' Collection)\", in Bartold V.V. (ed), *Zapyski Kollegii Vostokovedov (Notes of the College of Orientalists)* at Asian Museum of USSR Academy of Sciences, Vol II, Leningrad: USSR Academy of Sciences, 1927.  \nKomaroff, L. and Carboni, S., (eds), *The Legacy of Genghis Khan: Courtly Art and Culture in Western Asia, 1256–1353*, New York: The Metropolitan Museum, New Haven: Yale University Press, 2002.  \nRudyk, H. (ed), *Charisma of Iran. Persian Art of 12th-19th centuries from Museum Collections of Ukraine*, Kyiv: The Khanenko Museum, 2017.  \nWard, R., *Islamic Metalwork*, London: British Museum Press, 1993.","author":"Antonina Makarevych","copy_editor":"Janice Medina","keywords":["Basin","copper alloy","Ilkhanid","Iran","silver inlay"],"materials":["Copper alloy (brass)","embossed","engraved","hammered","inlaid with silver"]},"7aacbb88-ad52-5968-8bde-ffaeaaf35c53":{"name":"Tray (*sinija*)","description":"Copper tray – *sinija* (Tr. *sini*) – of circular form with raised omphalos in the middle, which is the center of the rosette with pointed petals and flower motifs within. The broad band that frames the central design is decorated with zoomorphic ornaments, composed of twisted vines and heads of different animals like leopards, lions, elephants, etc. Islamic brass or copper trays were used as serving trays for food and beverages, as well as decorative items in homes or public places.","type":"Tableware","holder":"Museum of Applied Art","dates":"Hegira 12th century / AD 18th century","location":"Belgrade","dimensions":"Diameter: 617mm, weight: 4370g","place_of_production":"Persia","method_for_datation":"By stylistic and comparative analysis with related material.","obtention":"Purchased in 1951.","bibliography":"Karamehmedović, M. A., *Umjetnička obrada metala*, Sarajevo: Veselin Masleša, 1980: 160–161, 164.","author":"Mila Gajić","keywords":["Copper","Persia","sinija","Tableware","Tray"],"materials":["copper","Engraving","hammering","tinned"]},"7b5dfa6d-5872-5368-aeb3-65783684e2ef":{"name":"Pearl Grading Sieves","description":"These copper alloy sieves were used to grade pearls into their various sizes. The larger, heavier and more luminous a pearl was, the higher its price.These pearl sieves were known as tus or tasat (sing. Tasa). Carefully graded, they are deep circular vessels, their bases pierced and designed to fit one into the other. According to local sources, sets could consists of between four and 45 units. Traditionally, these pearl sieves were used by the tawwash or sea-going merchant, who carried them in a characteristic cloth bag or dasta, when he visited the pearlers, together with all the other implements of his trade, i.e. portable scales and agate weights, a pearl scoop, and his table for calculating the value of the pearls.","type":"Copper alloy pearl grading sieves","holder":"Sharjah Maritime Museum / Sharjah Museums Department","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah","provenance":"Sharjah Emirate","author":"Ulrike Al-Khamis"},"7ca0b66c-4942-5ae1-ba7a-8fd1e3d1a12d":{"name":"Water flask","description":"The shape of this characteristic type of water flask is based on flasks made of leather without a base. The handle for filling water and spout for pouring it were made of wood or metal and attached to the leather with the aid of a collar.  \n  \nAlthough fairly few Indian bronze flasks of this type have been preserved, they are familiar features on Indian miniatures, where they appear from around AH 932 / AD 1525. Chinese porcelain flasks with this shape are slightly older, however, and it is probable that both Indian and Chinese flasks hark back to a leather prototype used by Central Asian nomad peoples. The engraved decoration that embellishes the flask is unusual.","type":"Water flask; Ewer","holder":"The David Collection","owner":"The David Collection","dates":"AH 10th-11th / AD 16th-17th century","location":"Copenhagen","place_of_production":"Northern India","keywords":["bronze","ewer","flask","Mughals","water"],"materials":["Cast bronze","with engraved decoration"]},"7d928099-23d2-5c8a-8b5d-f08b8d98ee3f":{"name":"Vase or Stand","short_description":"This is a vase with a baluster-shaped body, sometimes referred to as pear-shaped.  \nThe mouth is wide and a great part of it is openwork of a repetitive ornamental motif. The neck bears a belt with an inscription, probably stating good wishes for the owner. Below that, a decor of alternating solid circles and open-worked, intertwining ribbons can be seen. Around the body, the vase shows two rows of concave circular dents. In between those are small circular medallions, with every second one showing an ornament similar to the Solomon’s knot, but with curled ends. The foot does not show any decoration. Instead the rim of it was cut, as it is frayed and uneven. A group of fairly similar objects exhibit a rather high and bell-bottom-like foot. It is suggested, that the artifact at hand once possessed a similar feature. The base was made from a separate plate and then fused onto the vase.  \nInterestingly, there is one almost identical piece to this one. It is stored in the Linden-Museum, Stuttgart (LM VL 96/5).","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 4-6th century / AD 10-12th century","location":"Bamberg","dimensions":"Height: 22.4cm, Diameter mouth: 20cm","method_for_datation":"By stylistic analysis and through comparison","provenance":"Middle Asia","obtention":"Purchased in 1990","bibliography":"Gladiß, A. von, \"Islamische Metallarbeiten des 9-15. Jahrhunderts\", in Margareta Pavaloi and Johannes Kalter Usbekistan (eds), *Erben der Seidenstraße*, Stuttgart: Mayer, 1995: 123-137.  \nKorn, L., *Datierung durch Metallanalyse? Vergleichende Studie zu Kupfermünzen und Bronzeobjekten aus Ostiran und Zentralasien*, Tübingen: Universität Tübingen, 2000: 27, fig. 63.","author":"Tamara Haller","copy_editor":"Daniel de la Vega","keywords":["metalwork","openwork","rim","stand","vase"],"materials":["Bronze","engraved","hammered","open-worked"]},"7db8c87e-01d9-50ac-b044-887244457a35":{"name":"Cup with lid","description":"Cup with lid made in London in Oriental style.","type":"Galvanoplastic","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"Before 1873","location":"Vienna","provenance":"London","copy_editor":"Daniel de la Vega"},"7e1e1422-3903-56bf-9cc0-5b9cb2afd70f":{"name":"Incense Burner","short_description":"This incense burner is another example of a group of very similar burners. Within the group, two major decorative schemes can be determined. This burner is an example of one such schemes, which is associated with a motif of four split palmettes arranged in a circular medallion. It can be (among others) compared to two burners in the Herat National Museum (HNM 01.15.86, HNM 01.30.86a), one in the Linden-Museum and one in Metropolitan Museum of Art (MET 1975.314).  \nThe artefact is baluster-shaped with a splayed foot. It seems possible that this object was meant to be placed on top of a bowl holding the incense because the base is entirely open. The body of the object can be divided in three different sections. The lowest part is solid with an engraved decoration that ends just above the foot. The middle part consists of openwork. Centrally, around the largest diameter are circular medallions with the four palmettes placed around a central circle. These are framed by intertwining ribbons. At the lower end of the medallions, the design is interrupted by a horizontal ribbon which combines open-worked and solid sections, while the upper part of the design is carefully finished. The uppermost part is solid again, showing an inscription, which seems to be in a special style. It probably states good wishes for the owner. Through the inscription little holes are found in steady intervals. These were punched through later, as they go through the inscription making it unreadable in those areas. Right around the mouth of the burner is a pearl-ribbon.  \nThe interpretation as an incense burner is widely accepted as the openwork makes it unsuitable for use as a vase. It could have been used, however, as a lamp, especially considering the holes through the inscription to hang it up.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 4-5th century / AD 10-11th century","location":"Bamberg","dimensions":"Height: 18.9cm, Max. Diameter: 26cm, Diameter mouth: 14.5cm","method_for_datation":"By stylistic analysis and through comparison","provenance":"Middle Asia","obtention":"Purchased from Ibrahimi, Hamburg in 1991","bibliography":"Ettinghausen, R., *Islamische Kunst: Meisterwerke aus dem Metropolitan Museum of Art, New York, Ausstellung, Museum für Islamische Kunst, 20.6. - 23.8.1981. The Arts of Islam: Masterpieces from The Metropolitan Museum of Art, New York, Exhibition, Museum of Islamic Art, 20.6. - 23.8.1981*, Berlin: Staatliche Museen Preußischer Kulturbesitz, 1981.  \nFranke, U. and Müller-Wiener, M. (eds), *Herat Through Time. The Collections of the Herat Museum and Archive. Ancient Herat Vol. 3*, Berlin: Staatliche Museen zu Berlin - Preußischer Kulturbesitz and Ancient Herat Project, 2016: 99.  \nGladiß, A. von, \"Islamische Metallarbeiten des 9-15. Jahrhunderts\", in Margareta Pavaloi and Johannes Kalter Usbekistan (eds), *Erben der Seidenstraße*, Stuttgart: Mayer, 1995: 123-137, fig. 212.","author":"Tamara Haller","copy_editor":"Daniel de la Vega","keywords":["incenseburner","Lamp","metalwork","open work"],"materials":["Bronze","cast","engraved and probably perforated"]},"7e379f31-6dae-5207-977d-3021cf599c7d":{"name":"Coffee Cup Holder","description":"The base and body rim are segmented, and the inside of the segment is filled in with filigree. One hollow flower is attached to the inside of the slices on the body and to the borders where the segments meet.","type":"Metalwork","holder":"Ankara Ethnography Museum","owner":"The Republic of Türkiye Ministry of Culture and Tourism","location":"Ankara","dimensions":"Height: 5.5cm, diameter 4cm","copy_editor":"Alvaro Miranda","materials":["Silver","telkari (filigree) technique"]},"7ec5b54e-b5f6-55dc-bba6-dbab52faa88a":{"name":"Yataghan from the court of Süleyman the Magnificent (r. 1520–66)","short_description":"The exquisite workmanship and lavish use of precious materials employed in this sword’s construction exemplifies the opulence and refinement of Ottoman luxury arts. It is almost certainly from the same imperial workshop as a nearly identical *yataghan* produced in 1526–27 by the court jeweller Ahmed Tekel for the Ottoman sultan Süleyman the Magnificent (r. 1520–66). The gold incrustation on the blade depicts a combat between a dragon and a phoenix against a background of foliate scrolls. These figures, like the gold-inlaid cloud bands and foliate scrolls on the ivory grips, are Chinese in inspiration, and were probably introduced into Ottoman art through contacts with Persia.","type":"Sword","holder":"The Metropolitan Museum of Art","dates":"Hegira c. 931–32 / AD c. 1525","location":"New York","dimensions":"L: 59.3cm; L of blade: 46.7 cm; Wt: 1lb.8oz./691g","provenance":"Istanbul, Turkey","obtention":"Purchase, Lila Acheson Wallace Gift, 1993  \nSword maker: Workshop of Ahmed Tekelü, possibly Iranian, active Istanbul, ca. 1520–30  \nProvenance: Rex Ingram (1893–1950), Los Angeles; his estate sale, A. N. Abel Auction Company, Los Angeles, 1989","bibliography":"Alexander, David, Pyhrr, Stuart W. and Kwiatkowski, Will, *Islamic Arms and Armor in the Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 2015: 152–54, no. 57, ill.  \nEkhtiar, Maryam, Canby, Shelia R., Haidar, Navina and Soucek, Priscilla P. (eds), *Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 2011: 287, 312–13, no. 221, ill.  \nPyhrr, Stuart W., \"Workshop of Ahmed Tekelü (Iranian \\[?\\], active in Istanbul, ca. 1520–30), Yatagan\", *The Metropolitan Museum of Art Bulletin: Recent Acquisitions: A Selection*, 1992–1993 (Autumn 1993): 21, ill.  \nPyhrr, Stuart W., La Rocca, Donald J. and Ogawa, Morihiro, *Arms and Armor: Notable Acquisitions, 1991–2002*, New York: The Metropolitan Museum of Art, 2002: 38, no. 34, fig. 14.  \nPyhrr, Stuart W., \"Of Arms and Men: Arms and Armor at the Metropolitan, 1912–2012\", *The Metropolitan Museum of Art Bulletin*, (Summer 2012): 46–47, fig. 77.  \nSamgin, Sergey and Barkan, Ariel, \"A New Hypothesis of the Genesis of the Ottoman Yataghan: the Crimean Connection\", *Waffen- und Kostümkunde: Zeitschrift der Gesellschaft für Historische Waffen- und Kostümkunde*, (2016): 49, fig. 2.","copyright":"The Metropolitan Museum of Art, Purchase, Lila Acheson Wallace Gift, 1993","keywords":["Anatolia","arms and armours","Blade","cloud pattern","dragon","gold","inscription","Istanbul","ivory","Ottoman","Ottoman army","Ottoman metalwork","Phoenix","precious gems","semiprecious stones","silver","steel","sword","Turkey","weapon","weaponry"],"materials":["Gold","Pearl","ruby","Silver","steel","turquoise","walrus ivory"]},"8181fe27-473a-532e-986e-e0786c511a39":{"name":"Aquamanile in the form of a ram.","description":"This standing animal sculpture has lost its front paws, ears and horns. With its long neck and head too small for its body, it exudes a feeling of great strength. On its breast is a crescent which seems to have a medicinal significance. Around its neck it wears a collar, decorated with an incised saw-tooth pattern, from which the crescent hangs. The eyes are circles sculpted around globular protrusions for the iris. This aquamanile was probably a fountain-head embellishing one of the local palaces or large houses. The water ran up a tube from under the ram's belly and emerged from the open spout of its mouth.  \nThis example can be included within a whole series of animal-shaped aquamaniles discovered in various Muslim countries, especially Egypt and Spain. They were generally deer, dogs or birds.","short_description":"Aquamaniles were probably used as fountain heads to decorate palaces and grand residences. This example belongs to a series of aquamaniles in the shape of animals, usually stags, dogs or birds, found in some Muslim countries including Egypt and Spain.","type":"Aquanmanile, metalwork","holder":"Bardo Museum.","dates":"Hegira 4th–early 5th centuries / AD 10th–11th centuries.","location":"Bardo.","dimensions":"Height 32.5 cm.","method_for_datation":"This aquamanile has definite affinities to other pieces found at Madinat al-Zahra, dating from the mid-4th / 10th century, and in Egypt, dating from the 5th century (11th). From the Ifriqiyan historical context and the simple decoration the piece can be dated to somewhere between the 4th–early 5th / 10th–11th centuries.","method_for_provenance":"This piece was a fortuitous discovery made at Beni Khalad probably during the 1930s. In spite of its resemblance to the aquamaniles of al-Andalus, its Ifriqiyan origin appears beyond doubt.","provenance":"Ifriqiya(?).","obtention":"This piece was presented to the Museum by the Friends of the Bardo in May 1941, where it has been on display since.","bibliography":"*Tunisie, terre de rencontres et de civilisation* (Seville exhibition catalogue), Tunis, 1992, p.271.  \nZbiss, S. M., *Actes du congres national des societes savantes*, Alger, 1954, p.303.","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["figurative decoration"],"materials":["Cast-bronze."]},"81885d7a-1511-5ad9-862a-b08626bdae85":{"name":"Pitcher (*dolcha*)","description":"The *dolcha* is used to serve various drinks such as *gulab* (rose water), *ovshara* (a syrup served cold), *iskanjabi* (a syrup made from honey and vinegar), which enhance the culinary culture of Azerbaijan. Rich, delicate floral patterns, *butas*, flowers, zoomorphic and geometric figures are depicted on the copper jugs of various shapes and capacities. Additionally, some inscriptions include the date of make and the names of the master, customer and owner are reflected: in this case, the date Hegira 1281 (AD 1864–1865) and the work order of merchant Abdul Ali are written on the lower right.","type":"Tableware","holder":"Azerbaijan National Carpet Museum","dates":"Hegira 1281 / AD 1864–1865","location":"Baku","dimensions":"Height: 25cm, width: 18cm","place_of_production":"Karabakh, Azerbaijan","method_for_datation":"By stylistic and comparative analyses with related material","obtention":"Purchased in 1971","author":"Rustam Afandiyev","keywords":["Azerbaijan","Copper","dolcha","drinks","pitcher"],"materials":["copper","engraved","hammered"]},"8224937d-eb35-5a76-923e-7d2bb6181a08":{"name":"Coffee-roasting spoon","description":"In Oman, copper is a traditional material for making equipment related to the kitchen and dining room. Smiths still practice the trade along the coasts of al-Batinah and the interior; this spoon hails from the al-Dakhiliyah Governorate. Coffee-roasting spoons are one of the most important tools used in the preparation of Omani coffee in the *dallah* pot, where coffee beans are stirred until roasted and ready for grinding and boiling.","type":"Metalwork","holder":"The National Museum - Sultanate of Oman","dates":"Hegira early 15th/AD early 21st century","location":"Muscat, Sultanate of Oman","dimensions":"Length: 44cm, diameter (spoon bowl): 3.5cm","provenance":"Bahla, Al Dakhiliyah Governorate, Northern Oman","author":"Noora Al Balushi","copy_editor":"Judy Harter","materials":["brass"]},"823fdade-8900-58b3-bcda-59a5e61574cf":{"name":"Ewer and basin set.","description":"A set comprising two pieces: a ewer and a basin that was used for ritual ablution. The basin is large with a flaring rim. The ewer has a pear-shaped body, a curved handle and a lid. The flaring rim of the basin and the body, lid and lower part of the spout of the ewer are decorated with lozenges formed by small grooves. Vertical and horizontal grooves in the lozenges also form square motifs. On top of the lid are a flower-bud and leaf in keeping with the fashion of the time.  \n  \nThe set is decorated in a gilding technique known as *Tombak* and engraved. In Turkish metalwork gilding, especially of pure copper artefacts, appears in the AH 12th / AD 18th century. Technically, this method of gilding involves spreading an amalgam of powdered gold and mercury on the surface of the object, which is then fired in a kiln. The mercury evaporates during the firing, while the gold powder adheres to the surface. Sometimes gold leaf is placed on a mercury-coated metal surface, and when the mercury evaporates during firing, the gold leaf is fixed to the object.  \n  \nThe inscriptions on the ewer and the basin inform us that the objects were dedicated to the Tomb of Pertevniyal Valide Sultan, and they give the date of AH 1286 (AD 1870). Pertevniyal was the second *iqbal* (lit. 'fortunate one') of Sultan Mahmud II (r. AH 1223–55 / AD 1808–39). When she gave birth to Abdülaziz, she ascended to the highest female rank at court and when Abdülaziz ascended the throne in AH 1278 / AD 1861 she became the Valide Sultan (Mother of the Sultan, i.e. the Queen Mother). She had a complex built in her own name in the Aksaray Quarter of Istanbul. It comprised a mosque, a *maktab* (school), a *sabil* and a public fountain, and a tomb which was built for her in the courtyard of the mosque and in which she was buried when she died in AH 1300 / AD 1883. The Museum owns several objects taken from this tomb, some of which are in this exhibition.","short_description":"Gold has been the expression of economic power in all periods of history. *Tombak* is a technique that gives the look of gold to items and is used to decorate this ewer and basin set used by Pertevniyal Valide Sultan, mother of Sultan Abdülaziz, during religious ceremonies.","type":"Gilded copper, tombak technique","holder":"Museum of Turkish and Islamic Arts.","initial_owner":"Possibly Pertevniyal Valide Sultan (d. 1300 / 1883; queen mother from 1277–92 / AD 1861–76).","dates":"Hegira 1286 / AD 1870.","location":"Sultanahmet, Istanbul.","dimensions":"Basin: height 12 cm, diameter 60 cm; ewer: height 30.5 cm.","method_for_datation":"Both the ewer and basin bear an inscription stating that they were dedicated to the Tomb of Pertevniyal Valide Sultan and giving the date of 1286 (1870).","method_for_provenance":"Both the ewer and basin were dedicated to the tomb of Sultan Abdülaziz's mother, Pertevniyal Valide Sultan, in Istanbul and, due to the fact that the *tombak* technique was used especially in Istanbul, it is highly likely that this set was produced there.","provenance":"Istanbul, Turkey.","obtention":"The ewer and basin were transferred to the museum in 1926 from the Tomb of Pertevniyal Valide Sultan in Istanbul, to which they were dedicated.","bibliography":"*Anadolu Medeniyetleri III, Selçuklu-Osmanlı (Anatolian Civilizations III, Seljuqs-Ottomans)*, Istanbul, 1983, p.305.","linkcatalogs":"IAM_TR_EN_001","author":"Alev Özay","translator":"Barry Wood","translation_copy_editor":"Mandi Gomez","keywords":["Abdülaziz.","Basin","ewer","Mahmud II","Pertevniyal Valide Sultan","tombak"],"materials":["Gilded copper","known as the tombak technique."]},"82623a18-7533-59e9-b6b9-13cb371445c3":{"name":"Perfume sprinkler.","description":"A perfume or rosewater sprinkler that is characterised by a slightly elevated base, a pear-shaped body and an elongated neck - the neck decorated with a composition of intertwined vegetal leaf motifs. An inscription in *thuluth* script adorns the lower portion of the neck, it reads: 'May you have eternal glory, felicity and long life in the morning and evening'. The circular area that joins the body and the neck is filled with decorative elements such as vegetal leafy tendrils, interrupted by small medallions in the form of flowers.  \nThe body of the sprinkler is decorated with five bands: the first, which is located at the base of the neck, contains floral decorations of lotus blossoms interrupted by roundels containing rosettes. The second is composed of diamond-shaped motifs with segmented borders, inside which are depictions of flying ducks. Circular medallions that hold the blazon of Sultan Hasan ibn al-Nasir Muhammad ibn Qalawun interrupt this band. The third, widest, band bears an epigraphic inscription in *thuluth* script that reads: 'Glory to our lord, the sultan al-Malik al-Nasir Nasir al-Dunya wa'l-Din al-Malik al-Nasir Hasan'. The inscription, set against a background of inlaid vegetal decoration, is interrupted by three poly-lobed cartouches that hold further inscriptions radiating from a small rosette in the centre. The fourth decorative band resembles the second in both layout and design; the body ends with a final narrow band embellished with leafy designs. The base is decorated with small rosettes placed against a background of vegetal-leaf decoration.","short_description":"As Islam recommends the use of perfumes, factories to extract essences from plant and animal sources increased. Caliphs, sultans and amirs kept perfumes in containers of various shapes and materials. This brass sprinkler, inlaid with gold and silver, carries the epigraphic blazon of Sultan Hasan.","type":"Perfume, sprinkler, copper","holder":"Museum of Islamic Art","initial_owner":"Sultan al-Nasir Hasan ibn al-Nasir Muhammad ibn Qalawun who reigned three times: AH 693–4 / AD 1294–5; AH 698–708 / AD 1299–1309; AH 709–41 / AD 1309–40.","dates":"Hegira 698–708 / AD 1299–1309 or AH 709–741 / AD 1309–40.","location":"Cairo","dimensions":"Height 22.5 cm, diameter 7.6 cm.","method_for_datation":"This piece can be dated to the reign of Sultan al-Nasir Hasan ibn al-Nasir Muhammad ibn Qalawun who reigned three times between AH 693 / AD 1294 and 741 / 1340, in view of the fact that the inscriptions carved on it bear both his name and emblem. Furthermore the decorative style and the technique used in the production of this object strongly correspond to other pieces that were made during this period in Egypt, particularly Cairo.","method_for_provenance":"The perfume sprinkler was made for the Sultan al-Nasir Hasan ibn al-Nasir Muhammad ibn Qalawun whose blazon appears within circular medallions on the body. One inscription on the bottle reads: 'Glory to our lord, the sultan al-Malik al-Nasir Nasir al Dunya wa'l-Din al-Malik al-Nasir Hasan'. Furthermore, the decorative style and the technique used in the production of this perfume sprinkler further supports a provenance of Cairo.","provenance":"Egypt, probably Cairo.","obtention":"The sprinkler was bought in 1945 from an antiquities dealer, Ralph Harari.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks,* Washington D.C., 1987.  \nHamdi, A., et al, *Katalog Ma'rid al-fan al-islāmi fi misr \\[Catalogue of the Islamic Art Exhibition in Egypt\\],* Cairo, 1969.  \nMustafa, M., Al-*Wihda fi al-fan al-islāmi \\[Unity in Islamic art\\],* Cairo, 1958.  \nStierlin, H., and Stierlin, A., *Splendours of the Islamic World: Mamluk Art in Cairo (1250–1517),* London, New York. 1997.  \nWiet, G., “Les Objets en Cuivre”, in *Catalogue général du Musée arabe,* Cairo, 1932.","linkcatalogs":"IAM_EG_EN_001","author":"Salah Sayour","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Copper","decorative arts","inlay","perfume","vegetal motifs"],"materials":["Copper inlaid with gold and silver."]},"8289ad5e-b280-52a5-a588-3af192eca058":{"name":"An iron coupling from the Hijaz Railway","description":"A coupler, also known as a coupling, is a device usually mounted at the ends of rail cars to link them together. The system that attaches the couplers to the rail vehicles is called the draft gear or draw gear, which is designed to absorb the forces generated during coupling and when the train accelerates.","type":"Iron coupling","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","owner":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","initial_owner":"Unknown","dates":"AH 1318-1326 / AD 1900–1908","location":"London","dimensions":"30cm x 14cm","method_for_datation":"Sultan Abdülhamid II issued the imperial order for the railway on AH 1 Muharram / AD 2 May 1900 and the inauguration of the line was in AH 1326 / AD 1908.","provenance":"Germany","bibliography":"Khan, Q.M., *Hajj and the Arts of Pilgrimage*, London: Assouline, 2022.  \n  \nNicholson, J., *The Hijaz Railway and Route Guide, Hajj and the Arts of Pilgrimage, Essays in Honour of Nasser David Khalili*, Edited by Q. Khan with N. Nassar. London: Gingko, 2023: pp.239–282.  \n  \nNicholson, J., *The Hejaz Railway*, London: Stacey Publishing Ltd, 2005.  \n  \nOchsenwald, W. L., *The Hijaz Railroad*, Charlottesville: University of Virginia Press, VA, 1980.  \n  \nÖzyüksel, M., *The Hejaz Railway and the Ottoman Empire: Modernity,  \nIndustrialisation and Ottoman Decline*, London: I.B.Tauris, 2014.","workshop":"Hamidiyah Hijaz Railway","author":"Qaisra Khan","keywords":["al-Sh","AlUla","Amman","Arabia","barrack","Bosra","Branch line","bridge","chemin-de-fer","Damascus","defensive post","Deraa","fortification","Haifa","hajj","Hajji","Hedjaz","Hegra","Hejaz","Hijaz","Hijaz Railway","Jordan","Ma’an","Medina","Ottoman railway","Ottomans","Palestine","photography","pilgrimage","pilgrims","postcard","qala’a","Railway","railway station","Saudi Arabia","stamps","station","Syria","Tabuk","tunnel"],"materials":["Iron"]},"82e1f2cc-62b0-5f28-a689-917b06cc4ddc":{"name":"Basin and ewer set","description":"Basin and ewer set bearing the *tughra* (imperial monogram) of Sultan Abdülhamid II.","type":"Ewer set","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 13th century / AD 19th century","location":"Istanbul","dimensions":"Ewer height: 33cm, basin diameter: 35cm","place_of_production":"Istanbul","method_for_datation":"Determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","method_for_provenance":"It was determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","materials":["Silver"]},"833d2e50-fac3-5053-b7c2-86d5b3eb4fbb":{"name":"Incense burner","short_description":"Cylindrical incense burners on three legs with a domed lid were common from Iraq to Egypt in the 13th and 14th century, but are also known from Iran under the Il-Khanids.  \nThe swastika-like motifs, the clothing of the figures drinking wine and making music, and the birds point to the piece having been made in Mongol Iran.","type":"Incense burner, metalwork","holder":"The David Collection","dates":"Hegira 1st half of the 8th century / AD 1st half of the 14th century","location":"Copenhagen","provenance":"Northwestern Iran","keywords":["cast brass","Ilkhanid","Incense burner"],"materials":["Cast brass","engraved and inlaid with silver and gold"]},"839e8617-ca88-5db2-98b8-899baa6e04d1":{"name":"Bird.","description":"Small bronze bird fixed onto a base, characterised by a large hooked beak that is disproportionate to its head, a long neck and a small body that ends in a tail that splits in two. The ornamentation, equally distributed on both left and right sides, is reduced to cross-hatching on the neck and over the area of the wings, representing plumage. The eyes, engraved elliptically, are surmounted by vertical indentations. The ornamentation on the right side has been executed and traced with better skill. The rest of the body has been left smooth.  \nThe craftsman who created this figurine probably envisioned making both a decorative piece and a functional one at the same time, like the handle on a sugar-bowl lid, a plate with a cover, etc.","short_description":"A figurine of a bird with a large beak, somewhat out of proportion to the rest of its body, decorated with hatching and lines to representing wings. This decorative handle would have originally sat on top of a domestic utensil.","type":"Bird, metalwork","holder":"National Museum of Cirta","dates":"Hegira 406–547 / AD 1015–1152.","location":"Constantine","dimensions":"Height 4.2 cm, length 2.5 cm.","method_for_datation":"The object was found in the Qal'at Bani Hammad (5th-6th / 11th-12th).","method_for_provenance":"The object was found in the Qal'at Bani Hammad.","provenance":"Qal’at Bani Hammad, Algeria.","obtention":"Archaeological repository (Golvin excavations, 1951).","bibliography":"Bourouiba, R., *Les H'ammadites*, Algiers, 1984.  \nGolvin, L., *Le Magrib central à l'époque des Zirides*, *recherches d'archéologie et d'histoire*, Paris, 1957.  \nGolvin, L., *Recherches archéologiques à la Qal'a des Banû Hammâd*, Paris, 1965.  \nInstitut du Monde Arabe*, L'Algérie en héritage, art et histoire*, Paris, 2003.","author":"Houria Cherid","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["bird","bronze","Daily life","decorative and functional piece","disproportion","Figurative representation","Figurine","Hammadid"],"materials":["Cast bronze","engraved."]},"83c3fe83-79b0-588d-a540-cb63c72ac1b4":{"name":"Pearling Scales Case","description":"Pearling scales were an essential tool for any pearl merchant. All aspects of a pearl’s physical appearance – its shape, hue, perfection, size and indeed weight all determined its value and saleability. This copper alloy case for pearling scales is of the characteristic type common in the pearling industry throughout the Gulf. It combines a very slightly pointed, circular section designed to receive the two small bowls of the scales, with a narrow elongated section to contain the balance, with the scales's strings carefully wound around it for storage. This example is particularly interesting in that it appears to give the name of the merchant and the date 1280 H/ 1863 AD.","type":"Copper alloy pearling scales case","holder":"Sharjah Maritime Museum / Sharjah Museums Department","dates":"Hegira 1280 / AD 1863","location":"Sharjah","provenance":"Sharjah Emirate","author":"Ulrike Al-Khamis"},"841ba735-7c60-5603-8827-b02f6aedad8e":{"name":"Arab coffee pot","alternate_name":"Bakraj; Dalleh","description":"One padded handle with leather, tapered cover; long covered nozzle, stamped reliefs. Coffee-drinking in a communal setting is an essential part of traditions in Bedouin communities to celebrate or mourn. This object of common use reflects the Bedouins’ traditions and everyday life and illustrates the variegated population composition of the Jordanian territory in the late 19th and early 20th centuries.","type":"Kitchen utilities; metalwork","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","location":"Amman","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"85597a71-d670-530e-8302-7a8eb8d08410":{"name":"Horizontal ground loom","description":"This useful tool has been used since the Neolithic age. A horizontal ground loom is a simple arrangement of four pegs tied in place. The warp (vertical) threads are wound onto the sticks and tied in place. The loom has a heddle, batten, jacks, a warp beam and a shed rod. The weaver works the weft (horizontal) threads, by hand, through the stretched out warp. A shuttle is used to pass the wool.","type":"Loom","holder":"Jordan River Foundation Bani Hamida Weaving Project","dates":"AD 1916","location":"Mukawer","dimensions":"L: 40 -2200cm, W: 40-150cm","method_for_datation":"Owners","provenance":"Bani Hamida","obtention":"Bought","author":"Halima Al Qa'dan","copy_editor":"Lisa Kelman","materials":["Wood and iron"]},"856e72d2-c6c6-53ae-9853-1dd5d7bed01e":{"name":"Wine bowl (Jam)","short_description":"Dating inscription: \"Work of Mirza Mohammed from Runan, end of the month Dhu-l-qada, in the year AH 1052 [AD 21 January 1643]\", owner’s mark: \"His servant Mohammed Shafi, owner [is] Her Highness, the Begum\".","type":"Metalwork","holder":"MAK – Museum of Applied Arts","dates":"Hegira 1052 / AD 1643","location":"Vienna","dimensions":"Height: 11cm, Diameter: 26cm","provenance":"Iran or India","obtention":"Purchase","bibliography":"Mrazek, Wilhelm (ed), *Kunst des Islam. Teppiche, Keramiken und Fayencen, Gläser und Moscheelampen, Metallarbeiten aus den Sammlungen des Österreichischen Museums für Angewandte Kunst*, Vienna: Museum of Applied Arts, 1977.","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-46140","author":"Mio Wakita-Elis","keywords":["animal decoration","bowl","calligraphy","figural representation","horsemanship","human representation","hunting","inscription","vegetal decoration","women"],"materials":["Copper tinned with engraved decorations"]},"85a438c7-5833-5106-a6d9-e9bc6b70d317":{"name":"Candlestick.","description":"A skilfully made copper candlestick consisting of a base, body and neck. The base is polygonal with a thin decorative band that is inlaid with gold that wraps around the lower section. Around the upper section of the base is a series of protruding arches. The body of the candlestick is adorned with a series of arches supported by pillars that have bases and capitals, and all of which are embossed and in high relief. Within these arches there is an inscription band that has been engraved and inlaid with silver in large *thuluth* script, it reads: “Strength to our master, the sovereign ruler, the just, the helper, the victorious, the triumphant, protector of the world and religion, leader of Islam and Muslims, Artuq Arslan Ibn Ilghazi Ibn Artuq, commander of the faithful, May God prolong his life and strengthen his victory.” The upper section of the candlestick body is decorated with a series of raised, pointed arches filled with vegetal decoration. The neck, which is not original but was replaced at a later period, begins with a wide circular cross section where it meets with the body. It then narrows by degrees, thus resembling an inverted funnel with a wide neck; it is splayed at the top to hold the candle. The neck has no decorative details leading one to conclude that it is not original. It is commonplace to see candlesticks with detachable necks, the Islamic Museum in Jerusalem holds several.  \nThis candlestick by virtue of its shape and type is considered very rare. How it was transferred to Jerusalem remains a puzzle. It was probably part of an endowment (*waqf*) either to al-Aqsa Mosque or to the Dome of the Rock but it was not obviously made for either of them. The inscriptions on it do not indicate that it was made specifically for a religious institution, thus strengthening the possibility that it was brought to Jerusalem for another reason. Based on the inscriptions it is clear that it remained in the possession of its owners for two generations.","short_description":"This is a skilfully crafted copper candlestick with a decorated base and inscriptions inset with gold and silver. The neck has no decoration. It was commissioned by the ruler, Artuq Arslan. Its form and type are extremely rare and it is not known how it got to Jerusalem. Its inscriptions do not indicate any relationship to al-Aqsa Mosque or the Dome of the Rock.","type":"Candlestick, copper","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Artuq Arslan Ibn Ilghazi Ibn Artuq (ruled in Mardin in around AH 597–637 / AD 1201–39); then seceded to his son, Najm al-Din Ghazi.","dates":"Hegira 597–637 / AD 1201–39.","location":"Jerusalem","dimensions":"Full height 39 cm, height (of neck) 20 cm, diameter (of base) 31 cm.","method_for_datation":"The object was dated by the inscriptions on it which name the ruler who commissioned it.","method_for_provenance":"The inscriptions on the candlestick do not clarify where it was produced. The ruler of the Artuqid Dynasty with which the piece is associated was the original owner, and he ruled in Mardin and Mayyafariqin. It is possible that the piece was made in one of these cities, but it may also have been made in Mosul, since its method of production does resemble some other pieces from there. In view of this it is not possible to investigate either of these suppositions as similar pieces do not offer reliable comparisons.","provenance":"Not known.","obtention":"This piece was transferred from the Haram al-Sharif to the Islamic Museum at an unknown date.","bibliography":"Abu Khalaf, M., *Islamic Art Through the Ages: Masterpieces of the Islamic Museum of al-Haram al-Sharif, Jerusalem,* 1998.  \n\\_\\_\\_\\_\\_\\_\\_\\_\\_\\_, “Three Candlesticks from the Islamic Museum of al-Haram al-Sharif”, *Levant*, No. 20, 1988.","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Candlestick","Copper","inscription","Thuluth"],"materials":["Copper inlaid with gold and silver formed with hammering and carving."]},"8609522c-18c6-5b1c-9149-7c3bb976c5b7":{"name":"Neo-Mamluk, metal-inlaid copper alloy Table","description":"In 13th/ 19th- century Egypt, the political, cultural and social climate increasingly encouraged a nationalistic reappraisal of indigenous heritage. The era of the Mamluks, who had ruled Egypt and Syria between the later 7th/13th and the early 10th/ 16th centuries, was particularly celebrated as a golden age in national history. As a result, artisans now turned their efforts to reviving the glories of Mamluk artefacts, and particularly their celebrated, silver- and gold-inlaid metalwork. This stand or table is an exquisite example of such revivalist work. It copies a famous Mamluk Qur’an stand in the Museum of Arab Art in Cairo, inscribed with the name of the Mamluk Sultan al-Nasir Muhammad ibn Qalawun (r. 1294-1340) and made by Muhammad ibn Sunqur al-Baghdadi.","type":"Copper-alloy, metal inlaid table","holder":"Sharjah Museum of Islamic Civilisation / Sharjah Museums Department","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah","provenance":"Egypt, Cairo","author":"Ulrike Al-Khamis"},"865fb995-6617-5b7a-9f9e-71a7a96732e5":{"name":"Arabian gold sword","description":"Sword belonging to Sheikh Abdullah bin Jassim. The sword’s sheath is made out of leather and gold. The sword handle is made from elephant ivory whilst the blade is a type of steel called ‘*al-jawhar*’ which is derived from the finest Arabian Damascus plate.","type":"Weapon; arms","holder":"Weaponry Museum","dates":"19th century","location":"Doha"},"8754893b-4b9d-539e-acd4-ccf6ba2b1397":{"name":"Geomantic Instrument.","description":"A rectangular object of a brass alloy consisting of three pieces: a front plate with dials, a back plate, and the frame enclosing them. The front plate has 19 small engraved circles around a knob with a window above, exposing a small section of the dial behind the plate. A larger semi-circular dial sits just off-centre and a further four sliding arcs sit on the far right of the front plate. Above and between these dials are inscriptions inlaid with either silver or gold wire. There is a triangular projection of arabesques from which the instrument would have been suspended. This projection resembles the ring (kursi or throne) at the top of an astrolabe, and from which it is suspended. The back plate is decorated profusely with bands of inscriptions and arabesques. Geomancy is the art of divination. Therefore, this geomantic instrument would have been used to predict the future. Each of the dials has a series of inscriptions radiating from the central button, when the button is turned the dial beneath the plate rotates revealing a different configuration of silver points (numbering between four and seven) in the window, which in turn correspond to the inscription to which the arrow on the button is pointing. These points represent constellations. Inscriptions in kufic script above 16 of the 19 dials list the positions or 'houses' of the geomantic science, such as 'House of property and wages' or 'House of enemies and envious people'. Depending on the configuration of points in the windows an indication ranging from ill luck to good fortune can be predicted. The practice of interpreting these signs derived from the Arabic tradition of divination that was done by making marks in the sand.","short_description":"A brass geomantic instrument of rectangular shape with a complex arrangement of dials. This way of predicting the future, by interpreting the signs that appear in the windows beside the dials, derived from the Arabic tradition of divination achieved by making marks in the sand.","type":"Metalwork","holder":"The British Museum.","dates":"Hegira 639 / AD 1241–2.","location":"London, England","dimensions":"Height 28.8 cm, length 33.7 cm, depth 2.2 cm.","method_for_datation":"It is inscribed with the date 639 / AD 1241–2.","method_for_provenance":"The craftsman's nisba is 'al-Mawsili', indicating that he was from Mosul. There were also artisans working in Cairo, Damascus and elsewhere during the 7th / 13th century, and although al-Mawsili was from Mosul he may have migrated to another city. There is another metalwork object (in the Aron Collection) also signed by al-Mawsili. This states that it was made in Damascus; it is possible that this geomantic instrument may also have been made in that city.","provenance":"Egypt or Syria.","obtention":"Purchased in 1888.","bibliography":"Allan, J., Metalwork of the Islamic World – The Aron Collection, London, 1986, p.66, cat. no. 1.  \n  \nL'Orient de Saladin au temps des Ayyoubides, exhibition catalogue, Paris, 2001, p.210, cat. no. 222.  \n  \nSavage-Smith, E., and Smith, M., \"Islamic Geomancy and a Thirteenth Century Divinatory Device: Another Look\", in Magic and Divination in Early Islam, (ed. Savage-Smith, E.), Aldershot, 2004, pp.211–76.  \n  \nSavage-Smith, E., and Smith, M., \"Islamic Geomancy and a Thirteenth Century Divinatory Device\", in Studies in Near Eastern Culture and Society, 2, California, 1980.","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["arabesque","divination object"],"materials":["Engraved brass inlaid with silver and gold."]},"891afa7a-f098-52b7-9c06-6ee9249a8841":{"name":"Faucet","description":"The handle section is designed as a stylised dragon head and is rotatable.","type":"Faucet","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira late 12th–early 13th century / AD late 18th–early 19th century","location":"Istanbul","dimensions":"Length:16cm, height: 11.5cm","place_of_production":"Anatolia","obtention":"Purchased","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","materials":["brass"]},"8932676a-f7af-54cc-8d3e-01fd198ce017":{"name":"Mirror.","description":"This is the only surviving work of steel among the metalwork from the Anatolian Seljuq period. The mirror cast and inlaid with gold, bears figurative decoration in low relief. The decoration, which closely resembles that on Artuqid mirrors, comprises a medallion with a mounted hunter encircled by a border of animal figures chasing each other.  \n  \nThe hunter on horseback is inferred to be an important figure for he has a halo around his head. His round face, slanting eyes, long hair and costume represent a typical Seljuq nobleman. Details such as the falcon he carries on his left wrist, the knotted tail of the horse, and its raised right foreleg are traces of the Central Asian influence found in the art of the Anatolian Seljuqs.  \n  \nThe first example of such a composition in Islamic art is found on a ceramic plate of the AH 4th / AD 10th century. The greyhound with its collar tied to the horseman's saddle is interesting because in similar compositions of this period the greyhound is always loose. A bird of prey in the upper left corner and a fox in the upper right represent the hunt. The dragon motif under the forelegs of the horse recalls similar imagery in Central Asian frescoes and Christian iconography in Anatolia.  \n  \nIn the centre of the upper part of the border frieze is a pair of confronted dragons with knotted bodies biting each other. The axis formed by the handle and the pair of dragons is flanked with, respectively, a griffin with a bird's head and a lion's body, a bear, a fantastic creature with the upper body of a man and the lower body of a lion, and gazelles. The figure of a centaur, symbolising the zodiac sign of Sagittarius, normally has the upper body of a man and the lower body of a horse, but here it is depicted with the lower body of a lion.","short_description":"Items of daily use no doubt provide the most important data on social life. This mirror, the only surviving example in steel, provides evidence regarding the social life and iconographic beliefs of the Anatolian Seljuq period.","type":"Metalwork, steel, decoration object","holder":"Topkapı Palace Museum.","dates":"Hegira 7th century / AD 13th century.","location":"Sultanahmet, Istanbul.","dimensions":"Length 41.5 cm, diameter (of mirror) 21 cm.","method_for_datation":"Some of the metal objects attributed to the Anatolian Seljuq period bear the name of the craftsman and a date; this mirror does not have such an inscription (the naskhi script on the saddle of the horse is good-luck wish). The majority of works from the Anatolian Seljuq period with similar figures are dated to the first half of the 7th / 13th century; based on stylistic features, this mirror is dated to that period.","method_for_provenance":"The work resembles those produced in southeast Anatolia in the Artuqid period. It is thought that it was produced by a master from Artuqid territory who moved to Konya in the Seljuq period.","provenance":"Konya, Turkey.","bibliography":"Erginsoy, ü., *İslam Maden Sanatının Gelişimi* (*Development of Islamic Metalwork*), Istanbul, 1978.  \n  \nEttinghausen, R., 'The Islamic Period', in *Treasures of Turkey*, New York, 1966, pp.165–7.  \n  \nRice, D. S., 'A Seljuq Mirror', *First International Congress of Turkish Art*, Ankara, 1962, p.290.  \n  \nRoxburgh, D. J. (ed), *Turks: A Journey of a Thousand Years, 600–1600*, London, 2005, p.395.  \n  \n*The Mirrors of the Sultans*, Istanbul, 1998, pp.74–5.","author":"Harun Ürer","translator":"Barry Wood","translation_copy_editor":"Mandi Gomez","keywords":["figurative decoration","hunting scene","metalwork","steel"],"materials":["Cast steel","low relief and inlay techniques."]},"8968b399-19e6-5695-afe3-880d10ba234f":{"name":"Water ewer","description":"This handled bronze ewer has a rounded body segmented vertically in a lozenge (diamond) pattern.","type":"Ewer","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 5th–6th century / AD 11th–12th century","location":"Istanbul","dimensions":"Body diameter: 15cm, height: 31cm","place_of_production":"Persia","method_for_datation":"Determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","method_for_provenance":"It was determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","provenance":"Khorasan","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["ewer","water"],"materials":["Bronze"]},"89f6478a-1ada-5ce1-adfa-ba98750e463f":{"name":"Tray.","description":"A large brass tray with extensive silver inlay, much of it now missing. The layout is a study in circles: the central motif, a geometric pattern itself derived from intersecting circles, is linked to three circles which divide the surrounding inscription into equal parts. Within this arrangement there are further circles within circles. The whole composition serves as a framework for no less than seven inscriptions, whose verticals, arranged like spokes within wheels, provide a striking and satisfying visual contrast. The largest inscription reads, 'Glory to our master the Sultan, the wise, the diligent, the just, the warlike king – may his victory be glorified'! The same sentiments are reflected in all the inscriptions, right down to the tiny roundels which proclaim, 'Glory to our master, the Sultan'! A bold use of inscriptions, in which a laudatory text becomes the main part of the decoration, is a hallmark of Mamluk art. Although the identity of the patron is not clear (see below), a magnificent tray like this would have been a valued adornment of his court.","short_description":"A splendid brass tray extensively inlaid with silver to form geometric and calligraphic decoration. The bold inscriptions are particularly striking, although the identity of the sultan they praise is ambiguous. Such a tray would undoubtedly have been used at court gatherings.","type":"Metalwork, brass, silver, gold","holder":"Victoria and Albert Museum.","initial_owner":"Possibly either of the Mamluk rulers Sultan Abu Bakr (r. AH 742 / AD 1341) or Sultan Muhammad (r. AH 762–4 / AD 1361–3).","dates":"Hegira 742 / AD 1341 or AH 762–4 / 1361–3.","location":"London, England","dimensions":"Diameter 78.7 cm.","method_for_datation":"The style of the tray is that of the mid-8th / 14th century. The specific identity of the patron is ambiguous; the inscriptions make reference to 'al-Malik al-Mansur', a regnal name which was used by two Mamluk sultans in this period: Abu Bakr (r. 742 / 1341) and Muhammad (r. 762–4 /1361–3).","method_for_provenance":"Cairo and Damascus were the two most important centres of art production under the Mamluks.","provenance":"Cairo or Damascus.","obtention":"Purchased by the Museum in 1854.","bibliography":"Stanley, T., with Rosser-Owen, M. and Vernoit, S., Palace and Mosque: Islamic Art from the Middle East, London, 2004, p.97.","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","geometric patterns","inlay","inscription"],"materials":["Brass inlaid with silver and gold."]},"8a248430-ca8f-50aa-9f39-9af35db4e406":{"name":"Incense burner","short_description":"This bronze incense burner was cast in the form of a standing lion. It has a relatively small catlike head, and a richly engraved body. The body is made hollow and perforated for the scented smoke to escape. A drawer can be found at the front part of the body to place the charcoal. The rich openwork decoration shows interlaced bands that form rosette motifs. The lion is cast to lean slightly backward while all four legs are placed on the ground. This position gives strong appearance to the object, implying power and pride. The tail, which is long, was cast separately. The use of zoomorphic objects as incense burner is one of the familiar design applied in the metalwork art. This type of art object is generally assigned to northeast Iranian workshops, which was a trend throughout the 12th century AD.","type":"Metalwork","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 600-700 / c. AD 1200-1300","location":"Kuala Lumpur","dimensions":"29 x 30cm","obtention":"Purchased from Emanouelk Gallery, 64 South Audley Street. Prior to that with the Solati Family, 1977","bibliography":"Islamic Arts Museum Malaysia, *Al-Quran: The Sacred Art of Revelation*, Kuala Lumpur: IAMM Publications, 2004: 36-39. Islamic Arts Museum Malaysia, *IAMM Guide Book*, Kuala Lumpur: IAMM Publications, 2014: 33.","materials":["Cast and engraved copper alloy"]},"8b04bc89-ef4a-56d1-a8a5-314527494983":{"name":"Stag aquamanile","description":"This aquamanile in the shape of a standing stag illustrates that animal motifs were considered suitable for handwashing vessels in Fatimid Egypt in the 10th and 11th century. The object is characterized by a cup-shaped opening, through which it can be filled with water, and spouts located in the snout and nostrils. The front of the snout is closed, instead water flows out from openings located on either side of the mouth. The handle is shaped like a slender and highly stylized quadruped standing on the stag’s back; it leans its front legs against the neck, where the cup is positioned, and stretches its head upwards, as if trying to reach the water source. Notably, aside from several folds in its skin, the stag’s body is not ornamented. This makes it one of the few Fatimid aquamaniles, and indeed one of the few Islamic animal figures, with an unadorned body surface.  \n  \nThe work is primarily compared with the only other known stag aquamanile, now located in Munich (Museum Five Continents, Inv.-Nr. 26-N-1). The motif of the drinking stag was transmitted into Islamic culture through the translations of the Physiologus, a didactic Christian text written in Greek by an unknown author in Alexandria during the 2nd century AD. It describes animals and fantastic creatures and provides accompanying moral commentary. Thus, both Christian and Islamic stag iconography refer back to the same source. In addition to stags and deer, there are other aquamanilia surviving today that originate from regions under the control of the Sasanian as well as the Umayyad, Abbasid, and Fatimid rule. These can be dated between the 6th/7th century and the early 13th century.  \n  \nThe handle and the spout reveal the function of the object; it allowed for the pouring of two streams of water onto two outstretched hands, so they may be washed. Its material made it unsuitable for holding wine and its large size prevented its use as a drinking vessel. Aquamanilia were most likely used in a courtly context for lavish festivities and private events with wine, singing, riddles, games, and friendly competition between poets. This would also explain the iconography of the aquamanilia, which refers to courtly culture. The imagery of the falcon, for example, was usually intended as a representation of sovereign power and a sign of authority.","type":"Aquamanile","holder":"Museo e Real Bosco di Capodimonte","owner":"Museo e Real Bosco di Capodimonte","initial_owner":"Nicola Santangelo (1785-1851)","dates":"Hegira 4th–5th century / AD 10th–11th century","location":"Naples","dimensions":"Height: 38cm, length: 27.3cm","place_of_production":"Egypt","method_for_datation":"Bibliography","method_for_provenance":"Bibliography","provenance":"Santangelo Collection, until 1967 in the Archaeological Museum, subsequently in the National Museum of Capodimonte","obtention":"Acquired in 1865","bibliography":"Olchawa, Joanna, in Claudia Höhl, Felix Prinz, and Pavla Ralcheva (eds.), Islam in Europa 1000-1250, exhibition catalogue, Regensburg: Schnele & Steiner, 2022, n. 77: 316–319; Scerrato, Umberto (ed.),  Arte islamica a Napoli. Opere delle raccolte pubbliche napoletane, exhibition catalogue, Napoli: L'Arte Tipografica, 1968, n. 1: 1","author":"Mario Epifani","copy_editor":"Alvaro Miranda","keywords":["Aquamanile","Egypt","Fatimid","Museo e Real Bosco di Capodimonte","stag"],"materials":["cast","Copper alloy","engraved"]},"8b7e80b3-625e-596c-a8d5-9f93e1bdc94b":{"name":"Cannon","description":"This small cannon on wheels was used by the Ottoman soldiers in Lebanon in the 19th century to quash resistance movements. As the Lebanese resistance had no weapons of their own, the fighters frequently ambushed Ottoman soldiers and took their weapons. This cannon is an example of such weaponry, which was taken by the resistance and used against the Ottomans. The cannon is made of cast steel, with the chase, reinforce and cascable forged as one single part. It has two trunnions, used to mount the cannon on its carriage, a wooden body which is hollowed in the middle to make space for the cannon can pivot. It rest on a wooden cylinder and is linked by two wooden wheels.","type":"Military object; firearms; arms and armour; artillery","holder":"Lebanese Heritage Museum","dates":"Early 19th century","location":"`Ayn Najm","provenance":"Turkey","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"8bb1aef3-8779-5dfe-8bd0-4fef627826bc":{"name":"Incense burner.","description":"A brass globular incense burner composed of identical hemispheres joined by a bayonet fitting, and with pierced holes through which the fumes from burning incense could escape. Gimbals inside the burner, cradle a small bowl which would remain in an upright position even when the sphere is rolled, a mechanism also known as ‘Cardan Suspension’. Spherical in shape this object resembles a hand warmer, but due to its large size and the loop at the apex, it was probably designed to be suspended from the ceiling or to hang from a chain and be swung to disseminate the incense.  \nSilver inlaid decoration, divided into four concentric circles, covers the surface. The rim of each hemisphere has an inscription band of silver inlay against arabesques. Above this row are five pierced medallions each containing a double-headed eagle, alternating with roundels filled with geometric motifs in a background of arabesque scrolls. At both ends of the sphere is another inscription band with a pierced medallion at the apex, containing a design composed of double-headed eagles and lion-headed masks.  \nThe symbol of the double-headed eagle was a popular motif used on blazons by several Mamluk sultans. However, here it seems to be a decorative motif rather than a heraldic emblem. Towards the end of the AH 7th / AD 13th century the figurative motifs of Ayyubid metalwork were gradually replaced by titulature and heraldry according to the taste of Mamluk patrons. This object is a fine example of the growing popularity of inscribed titles on Mamluk decorative objects.  \nThis object was made for Badr al-Din Baysari who is mentioned in the inscription at the apex. Baysari was one of the most prominent of the amirs in the early Mamluk period, as confirmed by the phrase ‘al-maqarr al-ali’ (‘the High Excellency’).","short_description":"A large spherical brass incense burner with silver inlaid decoration. Medallions at either end show one of the Mamluk heraldic emblems, a double-headed eagle. This burner is inscribed with the name Badr al-Din Baysari who was a prominent amir in the early Mamluk period.","type":"Metalwork, decoration object, silver","holder":"The British Museum.","initial_owner":"Badr al-Din Baysari.","dates":"Hegira 675–7 / AD 1277–9.","location":"London, England","dimensions":"Diameter 18.4 cm.","method_for_datation":"This object was made for Badr al-Din Baysari who is mentioned in the inscription at the apex of this lamp, also mentioned are the regnal titles of two of his Mamluk masters: al-Zahiri (officer of Sultan Baybars from 658–75 / 1260–77) and al-Sa’idi (officer of Sultan Baraka Khan from 675–7 / 1277–9). Al-Sa’idi – is a sign of allegiance to Sultan al-Malik al-Sa’id Baraka Khan (r. 675–7 / 1277-9), which indicates that the incense burner was probably produced during his reign.","method_for_provenance":"This incense burner was made for Badr al-Din Baysari, a confidante of Sultan Baybars and one of the most important Syrian amirs. Originally in the service of the last Ayyubid Sultan, Baysari was then employed by the Mamluks after the Ayyubids were overthrown. This object was, therefore, probably made in Syria where Baysari was based. Moreover, there was an active patronage of inlaid metalwork in the Ayyubid and Mamluk periods in Syria.","provenance":"Syria.","obtention":"Bequeathed to the British Museum by John Henderson in 1878.","bibliography":"The Arts of Islam, exhibition catalogue, London, 1976, cat. no. 210.  \nAtil, E., Renaissance of Islam: Art of the Mamluks, Washington D.C., 1981, p.58–9.  \nBarrett, D., Islamic Metalwork in the British Museum, London, 1949, plate no. 22.  \nWard, R., Islamic Metalwork, London, 1993, pp.110–1, fig. 87.","linkcatalogs":"IAM_EG_EN_001","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["arabesque","calligraphy","eagle","figurative decoration","patronage"],"materials":["Brass pierced and engraved and inlaid with silver."]},"8c4feddf-8bd7-5d8a-94a8-143e731562a8":{"name":"Zamzam ewer (*Zemzemlik*)","description":"An Istanbul-made *tombak* (gilded copper alloy) ewer traditionally used for *Zamzam* water.","type":"Ewer","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira late 12th–early 13th century / AD late 18th–early 19th century","location":"Istanbul","dimensions":"Height: 36cm","place_of_production":"Istanbul","method_for_datation":"Determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","method_for_provenance":"It was determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","provenance":"Istanbul","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","materials":["Tombac"]},"8c713d6f-f859-5642-9f8e-6432126cff05":{"name":"Tray","short_description":"This water-cooler tray stands on three legs and has circular recesses for holding cooling earthenware jugs. The inscriptions attest that the tray was made for the Mamluk sultan al-Nasir Muhammad ibn Qalawun who was a lavish patron of the arts. The decoration is distinguished by its gold inlay and by the use of large lotus blossoms. This type of chinoiserie design was introduced from Mongol Iran to Mamluk Egypt in the early decades of the 14th century.","type":"Tray, metalwork","holder":"Benaki Museum","dates":"Hegira 719-730 / AD 1320-30","location":"Athens","provenance":"Egypt","keywords":["China","chinoiserie","Mamluk","metalwork","Tray"],"materials":["Brass inlaid with silver","gold and black compound"]},"8ca42471-fa97-56f9-94ac-a3f4088b69ff":{"name":"Cannon","description":"This cast bronze cannon is 156 cm long, has a front diameter of 50 cm and a back diameter of 85 cm. The Beylik of Tunis' coat of arms can be seen near the muzzle, and the Kingdom of Italy's near the back, as well as the name of the manufacturer, Fonderia di Torino, and the date, 1867.","type":"Ironwork; weaponry","holder":"Palais de la Rose – Musée de l’Armée","dates":"19th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"8d32099b-f01e-5606-a9f3-a813c2600508":{"name":"St. Michael Archangel","description":"This statue was made for the library of the convent of St. Michael in the wood, near Bologna, and dates to the last period of Alessandro Algardi’s activity. The sculptor was born in Bologna but mainly worked in Rome after 1625. In the period of the full flourishing of baroque art he became the main interpreter of classicizing sculpture.  \nIn this bronze group depicting the struggle between St. Michael and the devil, Algardi leaves aside his usual stylistic moderation. The rhythm is frantic and agitated: the angel is tense as he strikes his final blow; the clothes hang to his legs, while his face and breast keep their beauty unchanged. The sculpture is influenced by the painting of the same subject painted by Guido Reni for the Roman church of S. Maria della Concezione. Compared with the airy elegance of the painting the sculpture appears more rhetoric and forced.","short_description":"This statue was made for the library of the convent of San Michele in Bosco, near Bologna. It dates to the last period of Alessandro Algardi’s activity. The sculptor was born in Bologna, but after 1625 he worked mostly in Rome. The struggle between the archangel and the devil compelled the artist to abandon his usual controlled style. He adopted a more complex and violent rhythm, while continuing to look for ideal elegance and beauty.","type":"Sculpture","holder":"Museo Civico Medievale","initial_owner":"Convent of St. Michael in the wood","dates":"c. 1647","location":"Bologna, Emilia-Romagna","dimensions":"Height: 74 cm","place_of_production":"Rome","method_for_datation":"In his *Vite de pittori, scultori et architetti moderni*, published in Rome in 1672, Giovanni Pietro Bellori notes that Algardi made for Taddeo Pepoli, abbot of the convent of St. Michael in the wood, a statue depicting St. Michael Archangel trampling over the Devil. The statue was to be exhibited in the library, financed and promoted by the same abbot.","provenance":"Bologna","obtention":"In 1799, when religious orders were suppressed, the Accademia Clementina took care of the statue, once in the library of the convent; in 1871 it was moved to the Museo Civico and since 1985 it has been exhibited in the Museo Civico Medievale.","bibliography":"Heimbürger Ravalli, M. *Alessandro Algardi* *scultore*, Rome, 1973, pp. 161-62.  \nMontagu, J. *Alessandro Algardi*, New Haven and London, 1985, p. 200, pp. 365-67.  \nGrandi, R. in *Introduzione al Museo Civico Medievale*, Bologna, 1987,  pp. 84-86.  \nCannata, P. in *Algardi. L'altra faccia del barocco* (exhibition catalogue) (ed. J. Montagu), Rome, 1999, p. 188, n. 44.","workshop":"Baroque","author":"Elisabetta Berselli","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["academy","Accademia Clementina","Alessandro Algardi","Baroque Sculpture","Christian themes","movement","Pepoli family","religious object","St. Michael"],"materials":["Bronze"]},"8d5a8b6b-9b7a-5d86-a103-56328d85c92a":{"name":"Hand-palm amulet.","description":"A small brass amulet used as a protective charm, and designed in the shape of a hand. Embossed on the back is a six-pointed star with a dot in its centre, and a crescent below it. Above the star, written in Arabic is the word: '*mabruk*' (congratulations). The palm is symmetrical with two thumbs and two index fingers, and one middle finger in the centre. The fingernails are clearly defined. The reverse of the hand is flat with no features. This amulet would have been fixed on to an object, such as clothing, furniture, or a gift.  \n  \nThe palm of the hand, the 'keff', is a common charm used to ward off the 'evil eye', which represents the potential harm evil thoughts and deeds can do. The palm mainly appears in the form of jewellery worn on the person, but also on architectural decoration and other ornaments.  \n  \nThe six-pointed star in the Islamic Middle East is a symbol of the ring or seal of the Prophet Sulayman (the Biblical King Solomon). And, according to Islamic tradition, he was famous for his wisdom and supernatural abilities. His ring, with its six-pointed-star seal, empowered him to command the 'jinn' demons, and speak to animals. The image of the seal in this amulet is used to empower the beholder. The presence of both the crescent and the Arabic congratulations phrase confirm that this amulet is Islamic.","short_description":"The palm of the hand is a common protective shape against potential harm, evil thoughts and deeds. The six-pointed star with a dot in its centre is a symbol of the ring or seal of Prophet Sulayman (the Biblical King Solomon), which is used here to empower the beholder.","type":"Ottoman jewellery; metalwork","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Hegira, late 13th century / AD late 19th century.","location":"Glasgow, Scotland","dimensions":"Length 3 cm, width 2 cm.","method_for_datation":"Stylistic analysis: the use of the six-pointed star by Muslims stopped when European Jewish communities started to use it as a symbol for Judaism in the late 13th / 19th century, indicating that this hand could not have been made in Palestine beyond that date.","provenance":"Palestine.","obtention":"Purchased in 1912.","bibliography":"Bearman, P., et. al., *The Encyclopaedia of Islam*, Leiden, 1965.  \n  \nSinger, I., *Jewish Encyclopaedia*, Pennsylvania, 1906.","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["figurative decoration","jewellery","religious objects","Talisman"],"materials":["Moulded brass."]},"8f4f45ac-f6ac-5ff3-bfc0-d96fae01d30f":{"name":"Revolver","description":"This is a solid-frame revolver with 9-chamber cylinder and 8 mm calibre. The ejector and the screw for attaching the cylinder to the frame are missing. This revolver is fitted with two grip silver plates, highly decorated with checking and with a lion under a palm tree on both sides. The screw to attach the plates is installed with the grip plated diamond shape. The base of the barrel is octagonal in shape and the barrel had an inverted lip at its end. On the crown, “R”, a star and “E” are the only visible markings on the right side of the barrel. Right under the screw of the ejector, the number 16 is engraved. Only the last digit “3” of the serial number is visible and most of it is under the museum's inventory number.","type":"Handgun; arms; firearms","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20 century","location":"Amman","provenance":"Belgium","author":"Mohammad Najjar","copy_editor":"Daniel de la Vega"},"9019f587-868b-5467-91b0-7b17a50a99bd":{"name":"Small bucket.","description":"The small bucket is a metal container with a handle used for throwing water over hot marble paving to produce steam needed for the baths. The mouth is deformed, probably as a result of use. The decorative elements are contained within compass-drawn lines around the circumference. The engraving was done with two points, one sharp and the other blunter. The plant-arabesque decoration was added to fit the piece.  \nThe outer surface is totally covered with compartmentalised decoration, with ribbons that mark the boundaries between an inscribed strip in the upper part, a frieze of scrolls and palmettes, another strip (split into two circles and two poly-lobed medallions) and lastly another frieze of scrolls and palmettes in the lower part. In the upper strip, the inscription 'Continuous happiness' appears several times, while in the medallions 'Happiness, wealth, blessing and the fulfilment of desires' can be read. One of the medallions has a geometric pattern: two shapes spiralling away from one other that end in fanciful groups of stems and leaf buds make up the background of an inscription written in elegant cursive characters. The other, less dense, is made up of a group of scrolls finished with asymmetrical palmettes. The spandrels between the medallions develop the idea of the 'tree'. The structure relates to the Persian world, which from the AH 6th / AD 12th century revitalised the old Roman forms.  \nThis piece belongs to the type of domestic object used in refined environments and influenced by oriental trends, which had a great impact on al-Andalus.","short_description":"Fascinated by this magnificent gilded bronze bucket from the Alhambra, the powerful Cardinal Cisneros took it and added it to his private collection. Its exquisite and refined geometric, plant and epigraphic decoration show that it was a luxury piece for use only in a palace setting.","type":"Bucket, metalwork","holder":"National Archaeological Museum.","dates":"Hegira 8th century / AD 14th century.","location":"Madrid","dimensions":"Height 18 cm, upper diameter 18 cm, lower diameter 9.75 cm.","method_for_datation":"By the technique and decoration of circles covered with regular geometrical areas created from a hexagon and its multiples, following Nasrid conventions of decoration.","method_for_provenance":"The inscription includes the emblem of the Nasrid monarchy. Its rich and careful decoration suggests that it was made in the royal workshops of Granada.","provenance":"Palace of the Alhambra, Granada, Spain.","obtention":"The piece came to the National Archaeological Museum on 30 May 1868 from the Royal Academy of Fine Arts of San Fernando.","bibliography":"*Al-Andalus: Las Artes Islámicas en España*, Exhibition catalogue, Madrid, 1992, p.256. English edition: *Al-Andalus: The Art Of Islamic Spain* (ed. J. D. Dodds), New York, 1992.  \nAmador de los Ríos, R., “Acetre Arábigo que Se Conserva en el Museo Arqueológico Nacional”, *Museo Español de Antigüedades*, Vol. VII, Madrid, 1876, pp.467–81.  \nDomínguez Perela, E., “Acetres hispanoislámicos”, *Icónica*, 8, Madrid, 1987, pp.8–13.  \nFranco Mata, A., “Acetre”, *Isabel la Católica. La Magnificencia de un Reinado. Quinto Centenario de Isabel la Católica, 1504–2004*, Valladolid-Madrid, 2004, pp.246–7.  \nGómez Moreno, M., *El Arte árabe Español Hasta los Almohades. Arte Mozárabe*. Ars Hispaniae, Vol. III, Madrid, 1951, p.337.","author":"Ángela Franco","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["Alhambra","baths","domestic furnishing","water"],"materials":["Cast bronze","engraved","nielloed and fire gilding."]},"90e3e9c4-c63a-5a36-8816-be80a1947fe7":{"name":"Tray *majmayi*","description":"This large, round tray (*majmayi*) for serving pilaf appeared at large feasts, such as weddings, engagements and funerals. They are usually made of copper and richly engraved with floral motifs and inscriptions in Arabic, usually the name of the owner and/or master, year of production, *ayahs* from the Quran, as well as wishes for owner's well-being. Such inscriptions were normally depicted inside cartouches. In 2015, the copper craftsmanship of Azerbaijani Lahij was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. According to the calligraphic inscription on the item, it dates to 1869–1870. It has a wavy edge and an inscription of a couplet from Hafez’s poetry engraved in the cartouch:  \n\"Saqi, brighten our cups with the light of wine.  \nSing, Minstrel. The world is now as we wished it.\"","type":"Tableware","holder":"Azerbaijan National Carpet Museum","dates":"Hegira 1285–1287 / AD 1859–1870","location":"Baku","dimensions":"Height: 35mm, diametre: 600mm","place_of_production":"Karabakh, Azerbaijan","method_for_datation":"By stylistic and comparative analyses with related material","obtention":"Purchased in 1971","author":"Rustam Afandiyev","keywords":["Azerbaijan","Copper","Karabakh","majmayi","Tableware","Tray"],"materials":["copper","engraved","hammered."]},"91990643-0a6e-54e4-b548-e37214f4a6e4":{"name":"Padlock","short_description":"This lion-shaped padlock is in a relatively good state of preservation. The general appearance of the lion is determined through its elongated body and the emphasized thighs with ornamental decoration. The lion shows a relatively long neck, at the end of which and the head is a backwardly bent horn. The claws and facial features appear rough and not very detailed. Especially the face does not seem to be carved by an experienced hand. The eyes are indicated through holes. This stands in stark contrast to the ornamental decoration on the thighs and the inscription on the flanks which are executed very carefully. The *naskhi*\\-inscription on the left side it says *al-baraka li-sahibihi* which translates to: Blessing to its owner; and on the right side it says *amal Muhammad* which translates to: Work of Mohammed.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 5-7th century / AD Probably 11-13th century","location":"Bamberg","dimensions":"Height: 4.7cm, Length: 8.2cm, Width: 2.1cm","method_for_datation":"Through comparison","provenance":"Persian World","obtention":"Purchased from Ibrahimi, Hamburg in 1998","bibliography":"Tanavoli, P. and Wertime, J. T., *Lock from Iran Pre-Islamic to twentieth century*, Washington: Smithsonian Institution, 1976: 64-65.","author":"Tamara Haller","copy_editor":"Daniel de la Vega","keywords":["lion","metalwork","Padlock"],"materials":["Bronze or other copper alloy. Cast parts","joint and engraved"]},"91de28ae-cc20-5e00-94dc-becb9e4d0752":{"name":"Casket with Design of Animal, Vegetal, and Geomettric Motifs","short_description":"A small, lidded bronze casket sitting on four ovular feet attached to legs with incised decoration and scrolled edges. The lid has a flat, rectangular top, decorated with interlocking geometric and vegetal designs. There is a small wheel-like medallion at each corner, and five more equally spaced within the flat top of the lid. The beveled edge of the lid has vegetal designs, as well as medallions of interlocking lines. The register near the lip of the lid contains a series of running dogs or deer, facing left. The sides of the box are decorated in the same manner as the flat top of the lid. Each wide face has ten of the wheel-like medallions, and each narrow face has five central medallions and four half-medallions, one on each edge of the panel.","type":"Metalwork","holder":"Saint Louis Art Museum","dates":"Hegira First half 8th century / AD first half 14th century","location":"Saint Louis","dimensions":"Height: 13cm, Width: 15.2cm, Depth: 12.1cm","method_for_datation":"The casket and twelve-sided box both have pseudo-inscriptions around the base of their lids, with human heads on top of the letters. This is a playful elaboration that was popular in Khorasan (Afghanistan) in the 12th century and is somewhat unusual during this period.","method_for_provenance":"Scholarly review and/or comparison to similar objects from the period.","provenance":"Iran, Asia","obtention":"Museum Purchase, 1926","keywords":["Alloy","Asia","Casket","Copper","gold","inlay","Iran","metalwork","Persian","silver"],"materials":["Copper alloy with silver and gold inlay"]},"91fa9cd5-1b6e-5968-97c2-b50c7debaf04":{"name":"Dish","short_description":"This incense dish has a flat bottom, a slightly slanting wall and a somewhat indented flat rim. The main motif in the central roundel of the inner bottom side shows three revolving animals with the wiry body of a Persian greyhound but with a short tail and the long ears of a hare. The ears, structured like palm fronds or leaves, are put together like a triangle connecting the hares and creating the illusion that each animal is equipped with two ears. The background of the roundel is engraved with vegetal scrolls ending in trilobed buds. The roundel is framed with an inlaid copper band followed by a moulded groove surrounded by another incised circle. The last circle serves as boundary point for the enclosing corona that is made up of 42 intersecting arches based on capitals with slender columns. The spaces between the columns are filled with an engraved object resembling a long nail or spoon. It belongs to the more complex designs of the corona pattern that symbolizes the sun disk.  \nThe rim is divided by six cartouches, the shorter sides inserted, filled with benedictory inscriptions. A roundel filled with a festoon detail is engraved in between each cartouche. The four embossed semicircles pointed in the four cardinal directions on the narrow band around the medallions are a 10th-11th century décor feature. The outside wall is equally designed in the same Khorasanian manner. Here, a peacock in profile fills the medallions. The outside bottom is decorated with a central roundel, also engraved with a walking peacock.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 6th century / AD 12th century","location":"Bamberg","dimensions":"Height: 32mm, Width: 176mm","method_for_datation":"Besides traditional details that date back to the 10th/11th century the decoration protocol complies with 12th century metalwork from Khorasan. A so called “tray” in the Keir Collection shows three revolving hares and similar Khorasanian décor lambrequin, cartouches and roundels. The revolving hare motif shows on several 12th century dishes: one in the Ghazni Museum and one in the Victoria & Albert Museum (Inv. No. 537-1876). Another object in the Victoria & Albert Museum decorated with four revolving hares, dated into the second half of 12th century to early 13th century (Inv. No. 768-1889).","provenance":"Khorasan","obtention":"Purchased at Sotheby's, London in 1987","bibliography":"Abdullayev, A. and Khakimov, A., *A Song in Metal. Folk art of Uzbekistan*, Tashkent: Gafur Gulyam, 1986: 26, 50 fig. 12.  \nGeza Fehérvári, *Islamic metalwork of the eighth to the fifteenth century in the Keir Collection*, London: Faber and Faber, 1976: No. 74.  \nGladiss, A. von, \"Die islamische Metallkunst\", in C.-P. Haase, *Sammlerglück. Islamische Kunst aus der Sammlung Edmund de Unger*, München: Hirmer, 2007: 106f.  \nMelikian-Chirvani, Assadullah Souren, *Islamic metalwork from the Iranian world, 8-18th centuries*, Victoria and Albert Museum catalogue, London: HMSO, 1982: 61, fig. 21; 106-107, fig. 37 and 38.","author":"Verena Daiber","copy_editor":"Daniel de la Vega","keywords":["Incense burner","metalwork"],"materials":["Bronze","cast","engraved and inlaid"]},"921bd231-072a-5b12-b6bf-ef1ef9ab5517":{"name":"Metal plaque from India","short_description":"This Indian metal plaque depicts Jahangir Shah, the fourth Mughal emperor. It had two inscriptions in Persian: the first reads \"Daylight of the country, year 1013” and the second, golden inscription on the upper left side reads \"Lord Jahangir, the Emperor.\" The plate is decorated with small frames in which verses of a poem about the Emperor are inscribed. The beginning and end of the poem are missing, suggesting that there may have been other objects of the same kind bearing the rest of the poem. The poem recounts a discussion between the Emperor and a proxy.","type":"Metalwork","holder":"MKG Museum for Applied Arts","dates":"Hegira 977-1036 / AD 1569-1627","location":"Hamburg","dimensions":"Height: 122cm, Length: 80cm","method_for_datation":"Dated through the inscription.","method_for_provenance":"Unknown.","provenance":"India","obtention":"Unknown.","copy_editor":"Caitlin Link","keywords":["Jahangir","metalwork","Mughal"],"materials":["Bronze"]},"92b6403f-d36a-550d-b953-dceb45d22cf5":{"name":"Key for the Ka’ba.","description":"A single key that was used for the *Ka'ba* (meaning literally cube in Arabic). It consists of a ring (the diameter 3.6 cm) that is attached to a moveable cube-like shape with bevelled edges, and which is linked to the handle of the key. The handle consists of three small cuboids that alternate with two baluster-shaped separators. The body of the key itself assumes the form of an elongated cuboid whose cross-section is small in relation to its length, measuring 13 cm. The body of the key terminates with four protrusions.  \nA number of inscriptions with religious, political and documentary significance ornament the key including a series of inscriptions written in *naskhi* script that appear on all three of the handle cuboids. The inscriptions, carved on four planes of the first, read as follows: 'It is He who has sent His messenger with guidance and the religion of truth to prevail it over all religion' (Qur'an: 'The Victory'; 48:28). The inscriptions written on the second are: 'By order of Allah, no God but Allah – Sha'ban ibn Husayn – in the year 765'; while the inscriptions on the third cuboid read: 'One of the things made for Bayt al-Haram (the Sacred House, the *Ka'ba*) during the reign of our lord the Sultan al-Malik al-Ashraf'. Thus, the inscriptions clearly indicate that the owner of the key was the Mamluk Sultan al-Ashraf Sha'ban ibn Husayn who began his reign on a Tuesday, the 15th day of the month of Sha'ban, in the year AH 764 (AD 1362), when he was 12 years old, and that he ruled Egypt and the Levant until his death in AH 778 / AD 1376. The key bears the date of manufacture, AH 765 (AD 1363).  \nOn the shaft of the key there are a number of inscriptions in Mamluk *naskhi* script, distributed over its four surfaces. These consist of the following Qur'anic verses: 'Verily We have granted thee a manifest victory: That Allah may forgive thee the faults of the past and those to follow; Fulfil his favour to thee and guide thee on the straight way. And that Allah may help thee with powerful help. It is He who sent down tranquillity in to the hearts of the believers to increase their faith'. ('The Victory'; 48:1–4). 'The first house \\[of worship\\] appointed for men was that at *Bakka* full of blessing and of guidance for all kinds of beings. In it our signs manifest; (for example), the Station \\[*maqam*\\] of Abraham; whoever enters it attains security; Pilgrimage thereto is a duty men owe to Allah – those who can afford the journey; but if any deny faith, Allah stands not in need of any of his creatures.' ('Al-Imran'; 3:96–7).  \nIt may be observed that the Qur'anic verses recorded on the body of the key complement the key's objective, and affirm the religious obligation of the *Hajj* (pilgrimage) on Muslims. In addition, the verses allude to the city of Mecca by the name 'Bakka' which is one of a number of names given to the city including, 'Umm al-Qur'a', 'al-Balad al-Amin' and 'al-Bayt al-Haram'. Likewise, the verses also point out the Station of the Prophet Abraham. According to Imam al-Bukhari, the intended meaning of the Station of Abraham is a rock, upon which Abraham is believed to have stood when he raised the building of the *Ka'ba*. The rock is located in proximity to the *Ka'ba* and is covered by a wooden dome, the interior of which is decorated with gilded ornamentation. The structure rests on stone supports, between which there are four iron windows.  \nEgypt used to send the keys of the *Ka'ba* with the *kiswa* (cover) every year to Mecca. Despite the fact that the keys were presented every year, those housed in museums today number very few, and date back to the Mamluk and Ottoman periods. The Topkapi Palace Museum in Istanbul has acquired most of the *Ka'ba* keys, while the Islamic Art Museum in Cairo houses only this one *Ka'ba* key.","short_description":"Sultans and amirs sent gifts to the holy sites in Mecca, Medina and Jerusalem. This key was a gift from Sultan Sha'ban to the Ka'ba. It is decorated with verses from the Qur'an, ornamentation and inscriptions. A *kiswa* (covering) for the Ka'ba was sent with the key every year in the pilgrimage season.","type":"Key, the Ka'ba,wood","holder":"Museum of Islamic Art","initial_owner":"Sultan al-Ashraf Sha'ban ibn Husayn.","dates":"Hegira 765 / AD 1363.","location":"Cairo","dimensions":"Length 34 cm.","method_for_datation":"The key is accurately dated by the inscription recorded on it.","method_for_provenance":"It is likely that this key was made in Egypt since it carries the name of the sultan of Egypt at the time and the year of production. That this piece was made in Egypt is further supported by the fact that Egypt was responsible for despatching the *kiswa* along with the key each year to Mecca.","provenance":"Egypt.","obtention":"This object was purchased in 1945 from a dealer of antiquities, Ralph Harari.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks*, Washington D.C., 1987.  \nMajid, Abdel Al-Mon'em, “Mafatih al-Ka'ba \\[Keys of the Ka'ba\\]”, *Mijalat Kuliyat al-Athar* \\[*Journal of the Faculty of Antiquities*\\], Vol. 1, 1978, pp.108–9.  \nSayour, S., “Mafatih wa Kiswa al-Ka'ba \\[Keys and the Covering of the Ka'ba\\]”, *Prism Magazine* (Foreign Cultural Relations Dept., the Egyptian Ministry of Culture), No. 6, 2000, pp.29–32.  \nStierlin, H., and Stierlin A., *Splendours of the Islamic World: Mamluk Art in Cairo (1250–1517)*, London, New York, 1997.","linkcatalogs":"IAM_EG_EN_001","author":"Salah Sayour","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Copper","hajj","in-lay","inscription","Ka’ba","Key","Kiswa","naskhi script","religious object"],"materials":["Copper inlaid with silver."]},"943fcfda-9580-5eb8-96ef-8ebf0420f4bc":{"name":"Mamluk basin","short_description":"This Mamluk brass basin is typical of metalwork produced at the end of the fifteenth century and is signed by \"Khali Sarakhsi.” The main body of the vessel is decorated with four inscriptions in *thuluth* script, surrounded by a vegetal ornament background and an interlacing, knot-like pattern. The inscriptions alternate with emblem medallions and the rim has two lines of a floral vine pattern. A medallion with fish is depicted on the inside of the bowl.  \nThe inscriptions read: “What was created upon the order of the favoured and noble, the high, the frontier-defending, the caring, the orderly, the noble al-Day, the scholar, the careful, the jihad leading, the defending, to the Lord Amir, the great, belonging to the royal...\\[inscription is interrupted\\].”","type":"Brass basin","holder":"MKG Museum for Applied Arts","dates":"Hegira 9th century / AD 15th century","location":"Hamburg","dimensions":"Diameter: 32.7cm","method_for_datation":"By comparison with other Mamluk metalworks, e.g. the Basin of Sultan Qaytbay, The Metropolitan Museum New York (91.1.565)","method_for_provenance":"Gift from Henry Budge, Hamburg.","provenance":"Egypt or Syria","obtention":"Endowment in 1906.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks*, Washington D.C.: National Museum of Natural History, 1981.  \nWard, R., *Islamic Metalwork*, London: British Museum Press, 1993.","copy_editor":"Caitlin Link","keywords":["brass","Mamluk ware"],"materials":["brass"]},"95fa67f4-e90b-5049-aefb-6e44fd542a80":{"name":"Small Metal Ewer","description":"A small ewer with a spherical body and a tall cylindrical neck, featuring a slightly flared mouth opening. The handle is thin and curved, with breaks or corrosion at the top. The surface patina exhibits some green-blue oxidation characteristic of copper or bronze. The absence of decoration may indicate domestic or utilitarian use.  \n  \nIn that period people referred to such a small vessel as *al-sāqī al-awwal* (the first server), as it was typically placed near a sleeping area. It was used by a traveller arriving late at night who would rise at dawn to wash his face with cool water in preparation for prayer.","type":"Ewer","holder":"Department of Antiquities","dates":"AH 6th - 9th / AD 12th–15th century","location":"Amman","copy_editor":"Judy Harter","keywords":["ewer","Mamluks","water"],"materials":["Bronze","Copper alloy"]},"96fec71d-f6a7-59f6-8185-e0c973120a26":{"name":"Hammam faucet","description":"A highly rare *tombak* (gilded copper alloy) double-inlet bath faucet, made in Istanbul during the Ottoman period; similar examples of which are found in the Topkapı Palace and the Museum of Turkish and Islamic Arts.","type":"Faucet","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 12th–13th century / AD 18th–19th century","location":"Istanbul","dimensions":"Height: 21cm, width: 17cm","place_of_production":"Istanbul","method_for_datation":"Determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","method_for_provenance":"It was determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","provenance":"Istanbul","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["Faucet","Istanbul","Ottomans","tombak","water"],"materials":["Copper tombac"]},"97234026-b759-5b5b-ada5-8fc567b89260":{"name":"Four-poster bed","description":"This four-poster bed was made for a Muslim market in a pseudo-baroque style and shows evidence of European influences. The metalworkers who made this kind of furniture worked with both copper and iron, and were organised in their own guild, with their workshops located in the lower kasbah.","type":"Golden ironwork; furniture","holder":"Musée Public National des Arts et Traditions Populaires","dates":"19th century","location":"Algiers","translator":"Flaminia Baldwin"},"9759fb2e-169a-5a39-8d80-11289577854b":{"name":"Al-Haswa Dagger (*khanjar*)","short_description":"Attributed to Imam Saif bin Sultan al-Yarubi I (*Qaid al-Ard’*)  \nCollections of Sultan Qaboos bin Said bin Taimur  \n  \nSaif bin Sultan I was the fourth of the al-Ya’aruba dynasty Imams of Oman (ruled Hegira 1104–23 / AD 1692–1711). He made the ar-Rustaq Fort his residence, adding the *Burj al-Riah,* “the wind tower”.  \n  \nThe Omani navy reached a great degree of development during the Imam’s reign, where his foreign policy was based on renewing the struggle against the Portuguese on the Persian, Indian and East African coasts. In Hegira 1110 / AD 1696, the Omani naval fleet attacked Mombasa, besieging the Portuguese who had taken refuge in Fort Jesus. The Siege of Fort Jesus (also known as the Battle of Mombasa), ended after 33 months when the remaining survivors surrendered. Soon after the Omanis took Pemba, Kilwa and Zanzibar, becoming the dominant power on the coast.  \n  \nAt home, Imam Saif bin Sultan invested in agrarian reform, building new *aflaj* water management systems and maintaining old systems; expanding the plantation of crops such as wheat, barley and sugar cane; planting date palm and fruit trees; introducing new varieties of plants such as turmeric, saffron and coffee; and establishing beekeeping.  \n  \nSaif bin Sultan earned the title Qaid al-Ard’ meaning \"the Earth's bond\" or \"the chain of the Earth\" for the benefits he brought to the people of Oman.","holder":"National Museum Oman","dates":"Hegira 1104–23 / AD 1692–1711","location":"Muscat","dimensions":"Dagger width: 17cm, dagger length: 33cm; Belt length: 133cm; Blade length: 31.5cm, blade width: 7.2cm","copy_editor":"Liz Cooper","materials":["leather and silver","Rhinoceros horn","steel","Wood"]},"97a74e08-c680-51a4-9ff3-a40be3a5d9ea":{"name":"*The Source*","description":"Mona Saudi sculpts abstract forms imprinted by feelings. Her perfect mastery of gesture allows her to work with dexterity in all materials. Although she has a particular fondness for marble, she also works with granite, pink Jordanian stone, and bronze. Two versions of *The Source* were realised: the first in bronze (AH 1405 / AD 1984), shown here, and the second in pink Jordanian stone in a larger format (AH 1407 / AD 1986). Circles emanating from the central eye, which symbolises the water source, bring movement to the work. The terms \"eye\" and \"source\" are the same word in Arabic.","type":"Sculpture","holder":"Institute of the Arab World","dates":"AH 1405 / AD 1984","location":"Paris","dimensions":"Height: 28cm","obtention":"Gift, 1987.","translator":"Judy Harter","keywords":["bronze","Mona Saudi","sculpture","water"],"materials":["Bronze"]},"9865db5a-c42d-5847-9620-b572d083c65d":{"name":"Lidded brass jug inlaid with silver","short_description":"This facetted sheet metal jug is a typical example of the Khurasan school of metalwork. It has been hammered into shape, before having its body incised and partly silver-inlaid. The decorative scheme combines benedictory Arabic inscriptions with figural cartouches showing sphinxes – cosmic and solar symbols in Persian popular culture – and birds.","type":"Metalwork","holder":"Sharjah Museum of Islamic Civilisation","dates":"Hegira 6th – early 7th century / AD 12th – early 13th century","location":"Sharjah","provenance":"Eastern Iran, Khurasan","keywords":["astronomy","brass","calligraphy","imaginary animal","inlay","inscription","Jug","metalwork","Seljuq","silver"]},"98b5ec17-2e7d-5a6d-8a1f-25672e74c44e":{"name":"Tankard","short_description":"This two-handled tankard, made of copper-zinc alloy and gilt in a technique called Turkish *tombak* (amalgam gilding practiced in Turkey in the 17th–18th centuries), was probably intended for drinking wine. One example of the evidence is the inscriptions on horizontal bands running around both the body of the tankard and the bottom of its lid that contain rhymed toasts and wishes mentioning wine (translation by O. Halenko):  \n  \nOur pleasure comes from joyful wine, as we have it ascertained.  \nDo not hesitate, drink, and your grief will turn into joy.  \n  \nTake in hand this cup of joy and fill your soul with pleasure!  \nAt your private party this wine cup will rejoyce your heart.  \n  \nLet’s shake hands in the refuge of joy so that our enemy turn blind \\[from envy\\]!  \nLet’s drink rosy wine! Let’s enjoy! Long live pleasure!  \n  \nThe tradition of banquets that included consumption of wine disappeared from public life of Ottoman Turks from the period of Sultan Suleiman the Magnificent (1520-1566). However, according to the historical data, in the Ottoman Empire (including the Crimea), enough wine was produced, both for the local market and for export to Europe.","type":"Tankard; Metalwork","holder":"The Khanenko Museum","dates":"Second half of AD 17th century","location":"Kyiv","dimensions":"Height (with lid): 30cm","method_for_datation":"Stylistic analysis by Yu. Miller (examination, 1961, date, origin), inscription reading by O. Halenko (publications, 2014, 2017).","method_for_provenance":"According to the entry in the old Museum Inventory Register (1925-1946).","provenance":"Istanbul or Tokat, Turkey","obtention":"Received from the Nizhyn Museum in 1935 (?)","bibliography":"Atil, E., *The Age of Sultan Suleyman the Magnificent*, exhibition catalogue, Washington: National Gallery of Art, 1987.  \nHalenko, O., *Ottoman wine tankard with verses of the XVII century from the Khanenko Museum Collection*, Islamic Art in the Museums of Ukraine, Proceedings of the Vyazmitina Research Seminar, 2017, (2017): 46-49.  \nHalenko, O., \"Turkish wine tankard of the XVII century from the Khanenko Museum in Kyiv\", *Crimean Historical Review*, 1 (2014): 244-254.  \nPetsopoulos, Ya. (ed), *Tulips, Arabesques and Turbans. Decorative Arts from the Ottoman Empire*, London: Abbeville, 1982.  \nRudyk, H, \"Ottoman Collection in The Khanenko Museum\", *Chronicles-2000*, 1: 95 (2013): 479-495.","author":"Antonina Makarevych","copy_editor":"Janice Medina","keywords":["copper alloy","metalwork","Ottoman","Tankard","tombak","Turkey","vessel"],"materials":["Copper alloy","embossed","engraved","forged","gilt in tombak technique"]},"98b9d80b-38b8-5e8a-a9b7-1a6d821098d6":{"name":"Fragment of a box with a combination lock","short_description":"This combination lock is the work of the astrolabe-maker Muhammad ibn Hamid al-Asturlabi al-Isfahani in 597 H.  \nThe four double dials, each of which can be set in 16 positions, allows for 4,294,967,296 combinations. When the right combination is entered, it releases the inner metal plate, attached both to an external handle and to the locking mechanism itself.","type":"Box, metal work , cast, silver, copper","holder":"The David Collection","dates":"Hegira 597 / AD 1200–1201","location":"Copenhagen","provenance":"Iran, Isfahan?","keywords":["Box","brass","cast","figurative decoration","science","scientific object"],"materials":["Cast and hammered brass","inlaid with silver and copper"]},"98c08194-bddc-52e4-a6b8-d9483bc9ad1b":{"name":"Statue of Jules Ferry","description":"This symbolic statue of the French protectorate in Tunisia was located in the centre of the European quarter, between the cathedral and the official residence of the French government, on the Avenue Jules Ferry, today renamed Avenue Habib-Bourguiba. This bronze statue, reaching around three metres in height, is one of the last surviving elements of a monument which had been dedicated to one of the most important thinkers of French imperialism.","type":"Ironwork","holder":"Musée d’Histoire Moderne et Contemporaine de Kassar Saïd","dates":"19th century","location":"Le Bardo, Tunis","provenance":"Avenue Jules-Ferry","author":"Saloua Zangar","translator":"Flaminia Baldwin"},"9905bf41-30f3-505a-84b5-5d1abdf32a88":{"name":"Jug.","description":"A magnificent squat-shaped applied bronze jug with a high loop handle attached to the body and lid with a chain. Three discs, decorated with incised rosette and concentric circles, form a collar that surrounds the neck and which is nailed to a twisted arm that ends with a curled spiral on the lower part of the handle.","short_description":"An applied bronze jug from a house on the Citadel of Amman. Its high loop handle is attached to the body and lid with a chain. Three discs decorated with incised rosette and concentric circles form a collar around the neck.","type":"Jug, metalwork","holder":"Spanish Mission.","owner":"Department of Antiquities of Jordan.","dates":"Hegira first half of the 2nd century / AD first half of the 8th century.","location":"Amman","dimensions":"Height 40 cm, diameter (of body) 27 cm.","method_for_datation":"The object was dated by its archaeological context and associated pottery *in situ*.","method_for_provenance":"The object was recovered during an archaeological excavation at Amman Citadel; but where this object was produced is uncertain.","provenance":"Unknown.","obtention":"The object was recovered curing the course of an archaeological excavation in 1999–2000 in a house that lay south of the mosque on the Citadel of Amman.","bibliography":"Unpublished object: information about this object has been gained through personal communication with Dr Ignacio Arce, Director of the Spanish Archaeological Mission in Amman. Smith, R., and Day, L., *Pella of the Decapolis*, Vol. II, London, 1989, p.69, object no. 350126; plate 38H.","linkcatalogs":"IAM_JO_EN_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","keywords":["bronze","Daily life","geometric decoration","Geometric pattern","incision"],"materials":["Applied bronze."]},"9910c031-ddc9-5a83-9ff9-ea24f6051564":{"name":"Candlestick","short_description":"The candlestick, with octagonal shape, concave faces and added handle, is richly decorated with gold and silver inlay. Within poly-lobed arches, court life scenes with human and animal figures are depicted (ruler on throne and hunting motif). The scenes are surrounded by the flying ducks pattern.","type":"Metalwork","holder":"MAO Museum of Oriental Art","dates":"Hegira late 7th century / AD late 13th century","location":"Turin","dimensions":"Height 17 cm, diameter max 27 cm","provenance":"Northern Iraq","keywords":["Candlestick","damascened"],"materials":["Engraved and damascened bronze"]},"997866fa-eeaf-50cc-b92b-f629d643cbd2":{"name":"Chandelier","short_description":"This silver-inlaid brass candlestick is decorated with geometric, circular rosettes which are framed by interlacing bands, floral ornaments, and stylised birds. A unique feature of this candlestick is an extensively employed cross-like ornament. Based on this cross shape, the candlestick has been identified as a Christian sacral object of Armenian origin.  \nIt remains unclear, however, whether this form was actually intended to represent a cross in the Christian sense. The candlestick has been ascribed to different periods and places, including to the city of Konya in Turkey. It has also be attributed to the Seljuq period, but has previously been assigned to the Mamluk period.","type":"Chandelier","holder":"MKG Museum for Applied Arts","dates":"Hegira early 8th century / AD Early 14th century","location":"Hamburg","dimensions":"Height: 25.5cm, Diameter: 21.2cm","method_for_datation":"The shape of the candlestick is reminiscent of Sejuki works from Konya, Turkey, but it is barely damascened. In the purchase book of the MKG, the candlestick is described as an Armenian candlestick.","method_for_provenance":"Purchased from D. Kélékian, Paris.","provenance":"Northern Iran","obtention":"Purchased in 1894.","bibliography":"Porter, V. and Rosser-Owen, M., *Metalwork and Material Culture in the Islamic World: Art, Craft and Text: Essays Present to James W. Allan*, London: I. B. Tauris, 2012.  \nWard, R., *Islamic Metalwork*, London: British Museum Press, 1993.","copy_editor":"Caitlin Link","keywords":["Chandelier"],"materials":["Brass metal"]},"998d3461-0770-50eb-a5de-123b9ad0c56d":{"name":"Healing basin","description":"The base is low, and the body is hemispherical. Both the bottom and the rim are flat, while the centre is slightly convex. The interior and exterior are inscribed. The inside of the healing bowl is divided into thirteen mihrab-shaped sections. The base bears the inscription \"Sahip Ali\" in Ottoman Turkish.","type":"Bowl","holder":"Edirne Museum Directorate","dates":"AH 13th / AD 19th century","location":"Edirne","dimensions":"Diameter: 16cm","copy_editor":"Alvaro Miranda","keywords":["bowl","brass","healing","Ottomans","Religion","water"],"materials":["brass","forged","incised"]},"99ad38e4-f9e6-5713-bdbb-8f084d1c6462":{"name":"Incense Burner, Lion Torso","short_description":"This lion torso seems to be part of an incense burner. But, in contrast to other known forms, the mode of function is different. The object consists of the torso of a cat-like animal with its two front legs and ends in a sharp, conical thorn, the end of which is broken off. The body of the object features a hollow chamber that lies right behind the chest of the cat, which in turn shows openwork. The openwork is made of a palmette tendril in the shape of an upside-down heart. The ends are intertwined and also consist of palmettes. Above the elongated neck sits the upwardly faced head. Its features are clear cut with a prominent nose. The eyes and mouth are also perforated. All other details are indicated through carvings. The legs are long and slender, slightly bent, and could have been cast separately.  \nThere are many known types of animal-shaped incense burners. The most common is a type where the head can be folded backwards to open the vessel and place the incense in. However, this example seems to work like a drawer. The incense could easily be placed into the hollow chamber and the object is then presumably pushed into the other half of the artifact, with the conical ending ensuring its foothold.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 4-6th century / AD 10-12th century","location":"Bamberg","dimensions":"Height: 10.5cm, Length: 7.6cm, Width: 4cm","method_for_datation":"By stylistic analysis and through comparison","provenance":"Persian World","obtention":"Purchased from Saeed Motamed, Frankfurt in 1983","bibliography":"Allan, James W., *Nishapur. Metalwork of the early Islamic period*, New York: Metropolitan Museum of Art, 1982.  \nBodur, Fulya, *Türk maden sanatı. The art of Turkish metalworking. printed by the Foundation for Service to Turkish Culture on the occasion of the Exhibition of the Art of Turkish Metalworking, held at Saint Irene in Istanbul during August 1987*, İstanbul: Türk Kültürüne Hizmet Vakfı sanat yayınları 2, 1987.","author":"Tamara Haller","copy_editor":"Daniel de la Vega","keywords":["Incense burner","lion","metalwork"],"materials":["Bronze","cast","perforated"]},"99c365eb-e061-5123-97ee-c6128fee870f":{"name":"Arab / Bedouin Gun","description":"This matchlock musket, locally made based on a European prototype, is known as 'Abu Futtila'. It is an  example of the type of weapon used from the early 18th century until as late as the early 20th century in the Arabian Peninsula. The type was typically simply stocked, but generally as with this example, fitted with an extremely high quality barrel.  The tang is stamped with a maker's mark. This gun is a good example as it retains what is possibly its original match consisting of twisted fibre cord bound with cotton and two large copper alloy tubular fittings,  probably to hold lighted sections of the match. The gun is muzzle loaded and has a  .50 calibre smoothbore barrel with a single shot firing capacity. The musket shows fine fluting and has a chiseled barrel with geometric designs and silver inlay, as well as a copper alloy mounted forward grip. The copper taper holders under the wick do not appear to be original, but this gun still has its primer pan protector.Weapons were among the most coveted and desirable, if often illicit commodities in the Arab Gulf. European weapons were mainly imported through Muscat and Bushire on the Persian coast of the Gulf, with many than copied locally.","type":"Weapon; firearms; arms and armour","holder":"Sharjah Al-Hisn Museum / Sharjah Museums Department","dates":"Hegira 12th century / AD 18th century","location":"Sharjah","provenance":"Arabian Penninsula / Oman","author":"Ulrike Al-Khamis"},"9a3d1789-c5d3-52e8-a932-900f8376ce9c":{"name":"Candlestick Base","short_description":"This large candlestick base decorated with six sitting high-relief lions is a truly unmatched piece of Iranian or Eastern Anatolian toreutics. The body of the object is made of a single metal sheet, a high-relief decor created by the technique of two-sided hammering. Finest treatment of animal faces, patterns of mane, fur and spiral vegetable sprouts between figures indicate elite status. On the shoulders between the animal heads there is an Arabic inscription with traditional blessings: \"Glory, success, domination, happiness to the owner of this\".  \nThe base was designed to stand on the floor and hold one large candle. The lion is an ancient Iranian symbol of royal majesty and charisma, king's power and triumph, in astrological context directly related to the sun.","type":"Metalwork","holder":"The Khanenko Museum","dates":"First half of AD 13th century","location":"Kyiv","dimensions":"Height: 26cm, Diameter: 33cm","method_for_datation":"Stylistic analysis and inscription reading by L. Guzalian (examination, 1953, date and origin), A. Ivanov (examination, 1971, inscription reading, date and origin specified).","method_for_provenance":"Publication of Vera Krachkovskaya (1927). Old Museum Inventory Register (1925-1946).","provenance":"Iran or Eastern Anatolia","obtention":"Purchased by Bohdan and Varvara Khanenko. Donated by Varvara Khanenko in 1918, nationalized by Bolshevik regime in 1919.","bibliography":"Bilenko, Halyna and Vyshnevetska, Mariya, et al., *State Collections of Ukraine*, album, The Bohdan and Varvara Khanenko National Museum of Arts, 2009.  \nCanby, Sheila R., et al., *Court and Cosmos: The Great Age of the Seljuqs*, New York: The Metropolitan Museum of Art, 2016.  \nKrachkovskaya, V., \"Musulmsnskoye iskusstvo v sobranii Khanenko (Muslim Art from the Khanenkos' Collection)\", in Bartold V.V. (ed), *Zapyski Kollegii Vostokovedov (Notes of the College of Orientalists)* at Asian Museum of USSR Academy of Sciences, Vol II, Leningrad: USSR Academy of Sciences, 1927.  \nRudyk, H. (ed), *Charisma of Iran. Persian art of 12th–19th centuries from museum collections of Ukraine*, Kyiv: The Khanenko Museum, 2017.","author":"Antonina Makarevych","copy_editor":"Janice Medina","keywords":["Candlestick base","copper alloy","Eastern Anatolia","Iran","metalwork"],"materials":["Copper alloy","engraved","hammered"]},"9a411d81-270a-514a-a9ac-3f661d8e4f3e":{"name":"Mosque lamp","short_description":"This hammered brass lamp is decorated with openwork pattern inlaid with silver and a black compound. It was commissioned for the mausoleum of Mamluk ruler al-Malik al-Zahir Baybars (AH 620-675 / AD 1223–1277), constructed in Damascus in AH 675 AH / AD 1277. The inscription carries the words that plead God to sanctify the sultan's spirit and illumine his tomb. A tray would have accompanied this lamp, which when filled with oil and suspended, would have projected the inscriptions across the mausoleum.","type":"Metalwork","holder":"Museum of Islamic Art","dates":"Hegira 7th century  / AD 13th century","location":"Doha","dimensions":"Height: 29cm, Diameter: 25.5cm, Circumference: 94cm","provenance":"Syria, Damascus","obtention":"Cornette de Saint-Cyr, Nouveau  \nDrouot, Paris, 26 May 1981, lot 89  \n(top; bottom acquired later in  \nDenmark); Jasim al-Humayzi  \nCollection until 1999; sold to Qatar Museums","bibliography":"Abdellatif, Rania, *Syria Matters*, Milano: Silvana Editoriale, 2018.  \n  \nAl Khemir, Sabiha, *From Cordoba To Samarqand, Masterpieces from the Museum of Islamic Art in Doha*, Milan: Musée du Louvre Editions, 2006.  \n  \nGonnella, Julia, et al., *Museum of Islamic Art: The Collection* London: Thames & Hudson, 2022.  \n  \nKomaroff, Linda, *The Gift Tradition in Islamic Art*, Los Angeles: Yale University Press, New Haven and London, 2012.","author":"Tara Desjardins","keywords":["calligraphy","inlay","Lamp","Mamluk","metalwork","Mosque","Syria"],"materials":["Black compund","brass","Engraving","gilding","hammering","inlaying","openwork","Silver","Solder","soldering"]},"9aa3edb0-723c-5c98-a50f-327c1df9829a":{"name":"*Maghsal Al Yad* (bowl and pitcher)","description":"*Maghsal Al Yad*; Aluminium bowl and pitcher  \nWater from the pitcher is poured over the hands often by the host helping the guest.","type":"Pitcher; bowl","holder":"Sharjah Heritage Museum","owner":"Sharjah Museums Authority","dates":"Hegira mid 14th century / AD mid 20th century","location":"Sharjah, United Arab Emirates","dimensions":"Height: 190mm, diameter: 365mm, height: 285mm, width: 220mm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Arabian Peninsula","obtention":"Purchased","author":"Amanda Snyder","copy_editor":"Judy Harter","keywords":["Basin","bowl","copper alloy","Handwash"],"materials":["Aluminium"]},"9acacc6d-17be-5ff9-92a2-a820a66feee1":{"name":"Dagger and scabbard","short_description":"Blade of *jawhar* steel, hatched and overlaid with gold; iron hilt, as well as locket, chape and front of scabbard overlaid with gold and worked in *kundan* technique, set with precious stones, engraved and chiselled. The scabbards wood is covered on the back with gold sheet hammered in relief; hilt and scabbards set with a total of 1,685 rubies, 321 pieces of transparent emeralad-green glass, 39 pieces of transparent dark middle blue glass, 9 pieces of ivory and 6 layered agates (grand total of 2,393 'stones', to which another 26, now missing, must be added, for an original total of 2,419).","type":"Arms and armour","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira 1029–1030 / AD 1620","location":"Kuwait City","provenance":"India","keywords":["amrs","armours","dagger","gold","Kundan","Scabbard","weapon"]},"9adcd1ba-69fc-5d1e-b977-f72226d33bb1":{"name":"Processional cross.","description":"A cross with *fleur-de-lys* outlines, with the upright and two arms intersecting inside a square, a flattened spherical node, and fitted into a tubular pole. The decoration of the field of the cross is formed by a continuous band which runs round the edge of the entire piece and contains lozenges and triangles inside it, filled with geometric and floral motifs. In the corners of the square into which the centre of the cross is inscribed there are four eight-leaved shapes. The reverse is similarly outlined by a band, with the branches and upright filled with plant-inspired geometric interlacing. A large circumference is formed in the centre, decorated with rather complex geometric interlacing, forming multiple centres, which are the most typical Islamic element of the decoration of the cross. The decoration and the strong likelihood that the metal was extracted from a North African mine suggest that this is the work of a craftsman of the Islamic peninsular communities, Christianised or otherwise, but obviously working for the Christian kingdoms of the Iberian peninsula.  \nThis type of cross had a twofold function: it served as a cross to be held aloft in processions and funerals, but was also able to be fixed to a base and used as part of the liturgical instruments on the altar.","short_description":"This cross of unknown origin would have been produced in the AH 8th / AD 14th century. The interlacing patterns, typical of Islamic art, at the centre of one side of the cross are particularly noteworthy. This piece would have been made by a Muslim artist working for a Christian patron.","type":"Cross, copper","holder":"National Museum of Ancient Art.","dates":"14th century.","location":"Lisbon.","dimensions":"Height 63 cm, width 37 cm, weight 1814.2 gr.","method_for_datation":"For stylistic reasons relating to the shape of the cross.","provenance":"Unknown.","obtention":"Purchased from a private individual in 1878 by the National Academy of Fine Arts, it was incorporated into the collection of the National Museum of Fine Arts and Archaeology, set up in 1884 as part of the Academy. The National Museum of Ancient Art took over this collection when it was created in 1911.","bibliography":"Cordeiro, M. I. G. M., 'A Arte do Ferro em Portugal', National thesis for Museum Curators, unpublished typed text, Lisbon, 1962.  \n*Inventário do Museu Nacional de Arte Antiga. Colecção de Metais. Cruzes Processionais – Séculos XII–XVI,* Lisbon, 2003.  \n*Portugal Islâmico: Os últimos Sinais do Mediterrâneo*, exhibition catalogue, Lisbon, 1998, p.302.","linkcatalogs":"IAM_ES_EN_001","author":"Joaquim Oliveira Caetano","translator":"Gilla Evans","translation_copy_editor":"Monica Allen","keywords":["Cross","geometric decoration","Mudéjar","religious object"],"materials":["Incised and gilded copper."]},"9ae96ed6-bd10-5baf-ba3d-16ece349d35e":{"name":"Bowl (*kasa*)","description":"The bowl's decoration includes a calligraphic inscription invoking Allah's blessing to the Fourteen Infallibles, the owner’s name (Mehdi) and the production date (AH 1221), in addition to floral motifs.","type":"Tableware","holder":"Azerbaijan National Carpet Museum","dates":"Hegira 1221 / AD 1806","location":"Baku","dimensions":"Height: 12cm, diametre: 24.5cm","place_of_production":"Azerbaijan","method_for_datation":"By stylistic and comparative analyses with related material","obtention":"Purchased in 1971","author":"Rustam Afandiyev","keywords":["Azerbaijan","bowl","Copper","kasa","Tableware"],"materials":["copper","engraved","hammered."]},"9b0fa536-0fe5-5f95-ba19-41b4f81e9fd4":{"name":"Brass head of flagpole","description":"This mast, made of casted brass, bears an Arabic calligraphic decoration with the inscription \"Oh God, Oh Muhammad\". It is fixed on a pointed piece of copper with a hole at the bottom to install on a long wooden staff. In religious festivities such as a pilgrimage, various activities were organized. They would normally include festivals and rallies under flags and standards. The heads of flagstaffs were decorated with metallic items usually with Arabic calligraphy and some cosmic signs such as the crescent and the star.","type":"Cultic object","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Jordan; Palestine","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"9b465241-9dbe-5697-82cb-f32fd4f23628":{"name":"Magical Bowl","description":"The small, apodal cup has curved walls. The interior is entirely engraved with magical, astrological, and Kabbalistic symbols: two numerical squares, five-pointed stars, and zoomorphic representations, including the zodiac sign of Aries in the center, Scorpio below, and the double-headed knot of the Dragon of Eclipses. The engraved inscriptions contain invocations and Qur'anic quotations, as well as instructions for using the cup, referring to its restorative properties.  \n  \nInscription on the outer edge: Work of the destitute Muhammad b. Yanus, may God have mercy on him","type":"Bowl","holder":"Museo e Real Bosco di Capodimonte","initial_owner":"Collezione Borgia (until 1817)","dates":"AH 6th century / AD 12th century","location":"Naples","dimensions":"Height: 3cm, diameter: 11cm","place_of_production":"Syria","obtention":"Sold to the museum in 1817.","bibliography":"Scerrato, U., *Arte islamica a Napoli: Opere delle raccolte pubbliche napoletane* , Naples: Istituto Universitario Orientale, 1967.  \n  \nVanoli, A., *Acqua, Islam e arte. Goccia a goccia dal cielo cade la vita*, Milan: Silvana Editoriale, 2019.","keywords":["collezione borgia","Magical bowl","Museo e Real Bosco di Capodimonte"],"materials":["engraved bronze"]},"9b7f13f5-9188-59a0-bf2d-8b4f7c9b66cb":{"name":"Brass head of flagpole","description":"A cultic item with Arabic calligraphy mentioning God and his prophet Muhammad made of casted brass; fixed on a pointed piece of copper with a hole at the bottom to install on a long wooden staff. In religious festivities such as a pilgrimage, various activities were organized that would normally include festivals and rallies under flags and standards. The heads of flagstaffs were decorated with metallic items usually with Arabic calligraphy and some cosmic signs such as the crescent and the star.","type":"Cultic object; metalwork","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Jordan; Palestine","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"9b9d46dd-31d6-5cf2-9ae5-d6821a180e85":{"name":"Crucible / Melting Pot","short_description":"This crucible is of special interest because of its decoration. The overall shape is like a bowl or a small cauldron. Around its rim is a simple zig-zag ornament, which seems to be fairly worn off. The inside is smooth but on the outside, the base is slightly drawn-in and then splayed to form the foot. Noteworthy is its overly long spout. In the back and on the sides are three rather large flanges with carved decoration. They are tear-shaped with two bird heads on each side growing out of it. Their eyes, and wings only in the back, are illustrated through carvings. The side ones show the knot of Solomon in the middle, whereas the one in the back features a blossom. Each flange tip has a small bump at its sharp end. It could be a variety of the so-called Khorasan-type, as it includes similar pieces with elaborate flanges on three sides.  Another similar piece is presented by Geza Fehérvári but described as a lamp.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 5-6th century / AD 11-12th century","location":"Bamberg","dimensions":"Height: 2.9cm, Length: 19.9cm, Width: 16.2cm","method_for_datation":"By stylistic analysis and through comparison","provenance":"Probably Khorasan","obtention":"Purchased from Ibrahimi, Hamburg in 2002","bibliography":"Daiber, Verena, *Lebenswelten islamischer Kunst. Eine Blütenlese aus dem Universitätsmuseum für Islamische Kunst Bamberg*, Bamberg: Bumiller Art Foundation 2012.  \nGeza Fehérvári, *Islamic metalwork of the eighth to the fifteenth century in the Keir Collection*, London: Faber and Faber, 1976.  \nMelikian-Chirvani, Assadullah Souren, *Islamic metalwork from the Iranian world, 8-18th centuries*, Victoria and Albert Museum catalogue, London: HMSO, 1982.","author":"Verena Daiber","copy_editor":"Daniel de la Vega","keywords":["bird","crucible","melting pot","metalwork"],"materials":["Bronze","cast","engraved"]},"9bcbd3de-c7a4-5e77-8084-66ab743c25b3":{"name":"Large Persian basin","short_description":"This large onion-shaped basin was probably made in the early 16th century in Safavid Persia. It features the signature of the artist Shazi, “Amal-I shazi”, together with an inscription comprising parts of a poem by the poet Helali and verses by Halaki Herati, a less well-known poet from Herat, suggesting that the basin was produced at Herat, which was then part of Persia.","type":"Vessels","holder":"Kunsthistorisches Museum","dates":"Hegira 10th century (?) / AD 16th century (?)","location":"Vienna","dimensions":"Height: 19.6cm, Diameter: 30.2cm","method_for_datation":"Arthistorical and historical analysis, archival and inventory research","method_for_provenance":"Listed in the AD 1875 inventory of the Münz- und Antikenkabinett","provenance":"Iran?","obtention":"From the k.k. Münz- und Antikenkabinett","bibliography":"Leitner-Böchzelt, Susanne and Pfaffenbichler, Matthias (eds), *Die Welt des Orients. Kunst und Kultur des Islam*, Leoben: Stadtgemeinde Leoben, 2006.","copy_editor":"Liz Cooper","keywords":["court life","epigraphic decoration","furnishing","Helali","Herat","inscription","metalwork","Persian poetry","Safawid art","Shazi"],"materials":["Bronze"]},"9e027897-a1bc-5a18-981c-ff0bd612de0a":{"name":"Mortar","short_description":"This object is an octagonal-shaped bronze mortar. A *kufic* inscription runs along the rim while a relief of lions’ heads, birds, and ribbons adorns the base. The main body is decorated with raised teardrop-shaped studs and there is a handle for steadying the mortar while preparing ingredients.  \nGiven its octagonal shape, low base, and matching everted lips separated from the body by mouldings, the mortar was probably made in Iran between the 12th and 13th century. A similar object in Victoria and Albert Museum resembles this mortar in both size and design.","type":"Mortar","holder":"MKG Museum for Applied Arts","dates":"Hegira 6th-8th century / AD 12th-14th century","location":"Hamburg","dimensions":"Height: 14.3cm, Diameter: 18.2cm","method_for_datation":"By comparison with similar objects, e. g. Sweden Medelhavsmuseet (BEK 1958.06); Victoria & Albert;  Museum for Islamic Art, Berlin; Lindenmuseum, Stuttgart;  The Metropolitan Museum of Art (07.208).","method_for_provenance":"Purchased from Motamed Saeed.","provenance":"Iran","obtention":"Purchased in 1955.","bibliography":"Chirvani, A., *Islamic Metalwork from the Iranian World*, London: Victoria and Albert Museum, 1982.  \nPal, P., *Islamic Art: The Nasli M. Heeramaneck Collection*, Los Angeles: Los Angeles County Museum of Art, 1973.","copy_editor":"Caitlin Link","keywords":["metalwork","Seljuk"],"materials":["Bronze"]},"9ec04ac4-8665-5102-a540-7f71d05e04ed":{"name":"Ritual standard or alam","short_description":"This openwork ornament originally belonged to an elaborate standard, carried during religious, military and civic occasions. The Arabic inscriptions in the *thuluth* style state that \"There is no god but Allah\" in the centre, and convey blessings on \\`Ali, the cousin and son-in-law of the Prophet Muhammad and his two sons, Hassan and Hussein.","type":"Metalwork","holder":"Sharjah Museum of Islamic Civilisation","dates":"Hegira 1171 / AD 1758","location":"Sharjah","provenance":"Iran","keywords":["Alam","calligraphy","festival","inscription","metalwork","military object","Procession","religious object","Thuluth"]},"9f6f6d17-a330-58b4-8043-735c770a690a":{"name":"Dagger (*Kard*)","short_description":"This outstanding dagger with its lapis-lazuli hilt has a deeply engraved calligraphic inscription on its blade that is compartmentalised within a continous arabesque scroll. The calligraphy reads “Ya Muhammad, Ya ‘Ali” alternatively. The quality of the blade indicates a royal commission and an experienced metal smith. The dagger is signed on its spine with the attribute name of Ghulam Shah ‘Abbasi, in gold damascened foliage. The attribution ‘Ghulam Shah ‘Abbasi or ‘Slave of Shah ‘Abbasi’ indicates a period in Iranian history when Nadir Shah rose to power and deposed the last members of the Safavid dynasty.","type":"Arms and Armour","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1200 / c. AD 1800","location":"Kuala Lumpur","dimensions":"30.9 x 2.9cm","provenance":"Iran","bibliography":"Islamic Arts Museum Malaysia, *Symbols Of Power And Beauty: The collection of the Islamic Arts Museum Malaysia*, Kuala Lumpur: IAMM Publications, 2015: 52-53.","materials":["damascene","Gold","inlay","Iron","lapis-lazuli","rivet"]},"9fcb2c0d-4b09-55b0-8080-a3e28b6b97cb":{"name":"Ewer.","description":"The ewer is distinguished for its fine workmanship, elegant form, harmonious proportions and its beautiful decoration. It is characterised by a low circular base, a globular shaped body, a cylindrical neck, a handle and a spout. The body of the ewer is covered by engraved high-relief decoration consisting of a series of continuous arches in the form of crescents. Enclosed in the arches are decorative rosettes and depictions of birds and other animals. As for the neck, its upper section is fashioned in open work, while the remainder is decorated with incised designs of roundels and tiny connected floral motifs. The handle in turn emerges from the body in an almost-straight form, and then coils itself from above, curving inwards towards the neck to adhere to it. It finally ends with a decorative design in the form of an acanthus leaf. The spout of the ewer takes the form of a large cock in full cry with its wings spread out in a palpable movement, derived from classical Roman styles. Likewise, the craftsman was inspired – for the greater part of the ornamentation of this ewer – by the styles and decorations of Byzantine and Sassanid art. This ewer was used to pour water for bathing, to wash the hands, or for *wudu* (obligatory ablutions before prayer).","short_description":"This ewer, which displays a combination of Sassanid and Islamic art, is of high artistic and archaeological importance. Makers of metal objects in the early Islamic period followed in the steps of their colleagues of the Sassanid period in Iran, where this craft had reached its peak.","type":"Ewer, metalwork","holder":"Museum of Islamic Art","dates":"Hegira 2nd century / AD 8th century.","location":"Cairo","dimensions":"Height 41 cm, diameter 28 cm.","method_for_datation":"The ewer is dated based on an analysis of its decorative styles which are influenced by Byzantine and Sassanid decorative forms. This is a style that is distinctive to objects made during the Umayyad period.","obtention":"The Department of Egyptian Antiquities donated this piece when it was brought to light among the remains of a grave dated to the beginning of the Islamic era, in the district of Abu Seer al-Malak in Fayyum. The burial site was said to be that of Marwan II ibn Muhammad, the last of the Umayyad caliphs (r. 127–32 / 744–9), who it was said fled to Egypt as a fugitive from the Abbasids and was then killed and buried at this site.","bibliography":"Al-Pasha, H., et al, *al-Qāhira, Tarikhuha, Fūnunuha, Āthāruha \\[Cairo: Its History, Arts and Monuments\\],* Cairo, 1970.  \nEttinghausen, R. and Grabar, O., *The Art and Architecture of Islam 650–1250,* New Haven and London, 1987.  \nHassan, Z. M., *Al-fan al-Islami fi masr \\[Islamic Art in Egypt\\],* Cairo, 1935.  \nHillenbrand, R., *Islamic Art and Architecture,* London, 1999.  \nKing, G. R. D., “The Architectural Motif as Ornament in IslamicArt, the Merwan II Ewer and Three Wooden Panels in the Museum of Islamic Art in Cairo”, *Islamic Archaeological Studies,* Vol. 2, 1982.  \nMarzuq, Muhammad Abd al-Aziz, *Al-funun al-zukhrufiya al-Islamiya fi masr qabla 'Asr al-Fatimiyyin \\[The Islamic Decorative Arts Before the Fatimid Period\\],* Cairo, 1974.  \nSarre, F., “Die Bronzekanne des Kalifen Marwan II, im Arabischen Museum im Kairo”, *Ars Islamica,* Vol. 1, 1934.","linkcatalogs":"IAM_JO_EN_001","author":"Al-Sayyed Muhammad Khalifa Hammad","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["animal motifs","bronze","ewer","religious things","vegetal decoration","water"],"materials":["Engraved bronze."]},"9febac67-8cd1-54f6-9ba1-89627a2c4d62":{"name":"Candlestick socket.","description":"A candlestick socket whose inscription is marked for its singularity as well as for its animated style. Most of the inscription, which runs around the lower end of the candlestick neck, assumes the forms of human figures, specifically those of warriors wielding swords, dressed in armour, and holding lances; some of the lettering is in the form of bird's heads. The inscription reads: 'To the Amir Katbugha, Glory, Long Life and Triumph over Enemies'. It is apparent from the inscription that the craftsman was offering glory to Katbugha, and wishing him a long life and victory over his enemies, specifically those who had in fact participated in the murder of the Sultan al-Ashraf Khalil ibn Qalawun. It appears that the craftsman deliberately employed ambiguous phraseology in his bid to avoid what might befall him at the hands of Katbugha's enemies if circumstances changed. In the upper zone of the candlestick neck, another inscription in Mamluk *thuluth* script unwinds, it reads: 'That which was intended for the treasury of his sublime Excellency, the lord al-Zayni Zayn al-Din Katbugha al-Mansuri al-Ashrafi'. Three decorative roundels filled with geometric designs and inlaid with gold, interrupt the inscription.  \nThe epigraphic decoration present on this candlestick reflects some of the social and economic aspects of life in the Mamluk period, animating a period usually only found in historical narrative accounts. In the latter half of AH 692 / AD 1293 a cadre of Mamluk princes under the leadership of Amir Baydara, an officer of the sultanate, killed Sultan al-Ashraf Khalil ibn Qalawun, attacking him as he returned from a hunting expedition, and thereby paving the way for Baydara to assume power. Some Mamluk officers refused to take part in the plot and, under the leadership of the Amir Katbugha they staged a revolt against those who had killed the sultan. The rebels in turn killed Amir Baydara and his cohorts, displaying their bodies in the streets of Cairo. This series of events is according to the narrative account written by the historian, Al-Maqrizi in his *Khiţaţ* of 1853.The Mamluk officers agreed that the brother of Sultan al-Ashraf Khalil, Muhammad ibn Qalawun, should ascend the throne. He was, however, only nine years of age, so Amir Katbugha occupied the position of proxy to the sultanate, dispatching affairs of state on behalf of Muhammad ibn Qalawun for two years (694–6/1294–6). All these events are reflected in the inscriptions and ornamentation of this candlestick, which was made for Amir Katbugha al-Mansuri. The Museum was able to acquire only the neck of the candlestick; the body is currently housed in Walters Art Gallery, Baltimore; bought by the gallery in 1925.","short_description":"This is one of the most precious Islamic masterpieces due to its superb decoration, such as the inscription in the form of human figures, animals and birds. This style appeared in the late Ayyubid period and continued in the Mamluk. The candlestick was made for Amir Katbugha. The body of the candlestick is in the Walters Art Gallery, Baltimore, USA.","type":"Socket, candlestick, metalwork","holder":"Museum of Islamic Art","initial_owner":"Amir Katbugha al-Mansuri al-Ashrafi (AH 639–702/ AD 1239–1302).","dates":"Hegira 694 / AD 1294.","location":"Cairo","dimensions":"Height 14 cm, diameter (of the lip) 8.5 cm.","method_for_datation":"In accordance with the above, the owner of this piece was Amir Katbugha al-Mansuri. Sultan al-Ashraf Khalil ibn Qalawun had drawn Katbugha into his closest circle of trusted companions and associates, conferring upon him the title *nisba* (attribution of close affinity or kinship), whereupon his name became Katbugha al-Mansuri al-Ashrafi. Following the murder of Sultan al-Ashraf Khalil ibn Qalawun, Katbugha ruled as proxy to Sultan al-Nasir Muhammad ibn Qalawun for two years until he relinquished the reins of power to Sultan Lajin. Katbugha died at the age of 63 in 702 / 1302, during the second reign of Sultan al-Nasir Muhammad ibn Qalawun.  \nBy analysis of the inscriptions and the titles mentioned in it, it is apparent that the candlestick was made for Katbugha after the death of Sultan al-Ashraf Khalil ibn Qalawun in hegira Muharram 693 (AD December 1293) and that, in view of the fact that the text is devoid of any title indicating Sultan Lajin or al-Nasir Muhammad, it could be deduced that it was inscribed before Katbugha ruled as proxy for the short period of two years before Sultan Lajin in hegira Muharram 694 (December 1294). In the light of these conclusions, the date of this piece could tentatively be pinpointed to 694 / 1294, and to be even more precise, it would have been commissioned when Katbugha was handling state affairs as a representative of the young Sultan Muhammad ibn Qalawun during his first period of rule.","method_for_provenance":"The provenance for this object can be located with some certainty to Cairo in light of the evidence as mentioned above.","provenance":"Cairo, Egypt.","obtention":"The candlestick socket was bought by the Museum in 1917.","bibliography":"Al-Maqrizi, *Al-mawā'iz wa'l-i'tibār bi-dhikr al-khiţaţ wa'l-āthār \\[Exhortations and Contemplation of the Recollection of Plans and Monuments\\],* 2 Vols, Cairo, 1853.  \nAl-Pasha, H., et al, *Al-Qahira: Tarikhuha, Fununuha, Atharuha \\[Cairo: Its History, Arts and Monuments\\],* Cairo, 1970.  \nAtil, E., *Renaissance of Islam: Art of the Mamluks,* Washington D.C., 1987.  \nHamdi, A., et al, *Katalog Ma'rid al-fan al-islāmi fi misr \\[Catalogue of the Islamic Art Exhibition in Egypt\\],* Cairo, 1969.  \nMustafa, M., *Dalīl muthaf al-fan al-islami \\[Guide to the Museum of Islamic Art\\],* Cairo, 1978.  \nStierlin, H., and Stierlin, A., *Splendours of the Islamic World: Mamluk Art in Cairo (1250–1517),* London, New York. 1997.","linkcatalogs":"IAM_EG_EN_001","author":"Salah Sayour","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Candlestick","epigraphic decoration","figurative decoration","inscription","Thuluth"],"materials":["brass","inlaid with gold and silver."]},"a0123f90-172b-59e1-9291-e46637556232":{"name":"Metal grille/enclosure.","description":"An iron grille or enclosure, of which the Museum displays 19 segments held together by the use of fine iron rods. The grille has been worked in the Gothic style, a style that predominated in the AH 6th / AD 12th century in Crusader art and architecture. This enclosure surrounded the rock which is located within the Dome of the Rock and from which the Prophet Muhammad ascended to the heavens on the night of the *Mi'raj*.The enclosure was intended to protect the rock from European Christian pilgrims during the Crusader period who would take pieces of the rock back to their homeland either in the hope that they would be blessed by it or, due to the sacred nature of the rock, to imbed within church buildings. The rock was thus in danger of losing its natural shape and required protection. The enclosure, already in a delicate state of repair during the restoration works which took place around 1960, was replaced by a wooden balustrade worked in the Islamic carved-wood style. The iron grille was then put into storage at the Islamic Museum, but many pieces were lost in the interim.  \nThe grille is composed of segments that are identical in both width and height, except for the central four segments which are 257 cm high. Between each pair of rods are 21 repetitive decorative units, each one of which grows out of a small semi-circle of iron wire to become a flower. The flowers wrap around three times in a circular fashion extending from the centre, and face an identical blossom whose circles have been formed by wire coils spiralling in the opposite direction. The two flowers are connected together by a wire stay. This arrangement repeats itself to form the entire decorative format of the enclosure. It should be noted that a similar, small piece of a grille is still in the Dome of the Rock.","short_description":"This is an iron enclosure or grille formed from pieces of approximately equal size and similar repetitive decoration, joined by small intricate iron bands. It is in Gothic style, which predominated in the art and architecture of the Crusaders in Palestine. This enclosure surrounded the rock placed within the Dome of the Rock for its protection.","type":"Grille, metalwork","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Dome of the Rock, Jerusalem.","dates":"Hegira 6th century / AD 12th century.","location":"Jerusalem","dimensions":"Height 230 cm, length 570, width: 30 cm.","method_for_datation":"This piece was dated by comparison in both technique and decoration with those used in other pieces that go back to the Crusader period, such as the pair of candlesticks housed in the Islamic Museum in Jerusalem.","method_for_provenance":"It is probable that this piece was produced in Jerusalem where, as is generally the case with architectural furniture, it was made *in situ*.","provenance":"Probably Jerusalem.","obtention":"The piece was transferred from the Dome of the Rock to the Islamic Museum in about 1960.","bibliography":"Hunt, L. A., “Crusader Sculpture and the so-called Templar Workshop: A Reassessment of Two Carved Panels from the Dome of the Rock in Al-Haram al-Sharif Museum in Jerusalem”, in *Palestine Exploration Quarterly*, No. 132, 2000.  \nJacoby, Z., “The Workshop of the Temple Area in Jerusalem in the Twelfth Century: Its Origin, Evolution, and Impact”, *Zeitschrift für Kunstgeschichte*,No. 45, 1982.  \nJacoby, Z., “The Provencial Impact on Crusader Sculpture in Jerusalem: More Evidence on the Temple Area Atelier”, in *Zeitschrift für Kunstgeschichte*, No. 48, 1985.","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Crusader","Gothic","Grille","ironwork","metalwork","vegetal decoration"],"materials":["Forged iron fastened with rods."]},"a0252068-e151-5eac-8d48-3f1ff00fc162":{"name":"Jug","description":"This exquisite jug, a prime example of Ottoman silverware, stands at just under 10cm tall. Adorned with intricate interlacing floral reliefs against a finely stippled background, it features a bulbous body, cylindrical neck, and a dragon-headed handle. Reflecting Timurid influences of the 15th century AD, and crafted in the early 16th century, it bears the faint tughra (monogram) of Sultan Selim (ruled AD 1512–1520) inside the neck. Renowned centres in the Balkans produced similar high-quality metalwork during this period. The jug, likely used as a drinking vessel, was probably commissioned for an elite or royal member of the Ottoman court, as evidenced by its delicate floral designs and partial gilding.","type":"Metalwork","holder":"Museum of Islamic Art","dates":"Hegira first half of 10th century / AD 16th century","location":"Doha, Qatar","dimensions":"Height: 12.2cm","place_of_production":"Türkiye or the Balkans","provenance":"Türkiye or the Balkans","bibliography":"Allan, James W. & Maddison, Francis, *Metalwork Treasures from the Islamic Courts*, 2002.  \n  \nAl Khemir, Sabiha, *From Cordoba to Samarqand, Masterpieces from the Museum of Islamic Art in Doha*, 2006.  \n  \nQatar Museums, et al, *MIA Collection Online*, 2013.","author":"Teslim Sanni","copy_editor":"Judy Harter","materials":["embossed","Gilded sheet silver","with a cast handle"]},"a03d3c4a-eda1-5b31-8194-d6c067d91786":{"name":"Ewer","short_description":"Bronze ewer, the entire surface covered by a large 'tree' issuing scrolling vines bearing blossoms, foliage and fruit. The handle's 'thumbrest' in the form of a pomegranate, its base terminated by a stylized antelope head. The body and handle were seperatly cast, chased and engraved.","type":"Vessels and receptacles, glasswork","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira 2nd century / AD 8th century","location":"Kuwait City","provenance":"Iranian World","keywords":["animal decoration","vegetal decoration","vine scrolls","vine tendril decoration"]},"a0c00e22-c322-5a03-bf9b-d28214f50691":{"name":"Covered Bowl","short_description":"A circular bowl with rounded bottom, the cover almost flat. The surface of both bowl and cover has been chiseled to leave in relief a regular, interlacing, design in slender strap and arabesque lines in bands, stars, medallions, and knots, which have been overlaid with silver by beating down on a prepared surface (dotted lines incised). The surface between the design in silver lines are filled with designs of vines in relief. On the edge of the bowl a delicate zig-zag and T-pattern divided into six lengths by small disks.","type":"Metalwork","holder":"Saint Louis Art Museum","dates":"Hegira Last half 9th century / AD second half 15th century","location":"Saint Louis","dimensions":"Height: 9.2cm; Diameter of cover: 16.8cm; Diameter of mouth: 16.8cm","method_for_datation":"Scholarly review and/or comparison to similar objects from the period.","method_for_provenance":"Scholarly review and/or comparison to similar objects from the period.","provenance":"Northwest Iran or southeast Anatolia (Turkey), Asia","obtention":"Museum Purchase, 1925","bibliography":"Al Khemir, Sabiha, *Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture*, Provo, Utah: Brigham Young University Museum of Art, 2012.","keywords":["Alloy","Anatolia","Asia","bowl","Copper","Covered","inlay","Iran","Mahmud al-Kurdi","metalwork","Northwest","Persian","silver","Southeast","Turkey"],"materials":["Copper alloy with silver inlay"]},"a22ef18b-d87e-5980-a2f7-21310eb82200":{"name":"Revolver","alternate_name":"Leopold Gasser revolver; 'Montenegrin' revolver","description":"Revolver of Leopold Gasser, used for land/terrestrial defence as opposed to the navy. It is also known as “Montenegrin” as it was used not only by the Austrian army but also by the army of Montenegro. The exterior was nickelled, but the nickel finish has mostly worn away leaving only traces on the barrel and the frame. The plates of grip are missing. It is similar to item 65.","type":"Handgun; arms; firearms","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20 century","location":"Amman","provenance":"Belgium","author":"Mohammad Najjar","copy_editor":"Daniel de la Vega"},"a283f125-e8c1-5168-96bd-8168ea1e6199":{"name":"Copper door panel.","description":"An inscribed copper panel that once adorned the door of the Madrasa al-Ashrafiyya, founded by Sultan al-Ashraf Qaytbay, situated near the western wall of the Haram al-Sharif, next to Bab al-Silsila (Gate of Chains). The Madrasa al-Ashrafiyya is considered to be one of the most important schools of Mamluk Jerusalem, and the third most significant Islamic building in Jerusalem in terms of beauty, splendour and skilled architectural style, after the Dome of the Rock and al-Aqsa Mosque. The panel shown here was taken from the door of the *madrasa* during restoration work carried out in 1928, after it was badly damaged as a result of the earthquake in Jerusalem in 1927. It would seem that the door of the *madrasa* was destroyed and all that remained of it was its copper decorative panels.  \nThe composition comprises inscriptions that fill two medallions placed either side of a round-cornered rectangle. The two medallions contain *thuluth* script that reads: “Glory to our lord, Sultan Abu al-Nasr Qaytbay. May he have strength in his triumph”. The principle inscription, inside the soft-cornered rectangle, is in rounded *thuluth* script, it reads: “Glory to our lord, the Sultan, the Sovereign, the Just, al-Malik al-Ashraf Abu al-Nasr Qaytbay”. Another inscription inside the rectangle reads: “Sultan of Islam and Muslims, Destroyer of Polytheists and Unbelievers, al-Malik al-Ashraf Abu al-Nasr Qaytbay, Glory to his triumph”. In the middle of the rectangle a Qur'anic verse “al-Tawba” (“the Repentance” 9: 18) is inscribed in kufic script: “The mosques of Allah shall be visited and maintained by such as believe in Allah and the last day, establish regular prayers, and practice regular charity, and fear none (at all) except Allah. It is they who are expected to be on true guidance”. The background outside the medallions and the rectangle contains interwoven vegetal motifs.","short_description":"This copper panel adorned Madrasa al-Ashrafiyya in Jerusalem, which was built by Mamluk Sultan al-Ashraf Qaytbay at the Western Wall of al-Haram al-Sharif. The panel is worked with epigraphic decoration, which bears the name of the sultan. Vegetal decorative motifs cover the entire panel and fill all the spaces between and around the inscription.","type":"Panel, door, copper","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Al-Malik al-Ashraf Abu al-Nasr Qaytbay (r. AH 872–901 / AD 1468–96).","dates":"About hegira 886 / AD 1482.","location":"Jerusalem","dimensions":"Height 16.5 cm, length: 87 cm.","method_for_datation":"Dating of the panel was made possible by the inscription, which mentions the name of Sultan al-Ashraf Abu al-Nasr Qaytbay. It is known that this panel is associated with Madrasa al-Ashrafiyya built in around 886 / 1482, and this assertion is further supported by historical sources.","method_for_provenance":"The copper engraving could have been done anywhere in Egypt, Palestine or Syria. For this reason it is difficult to ascertain the place of production but its presence on the door of the Madrasa al-Ashrafiyya in Jerusalem makes it likely that it was made in a workshop on site.","provenance":"Probably Jerusalem, but possibly Egypt or Syria.","obtention":"The piece was transferred in 1928 from the Madrasa al-Ashrafiyya in Jerusalem to the Islamic Museum.","bibliography":"Al-'Arif, A., *Tarikh Qubat al-Sakhra wa al-Masjid al-Aqsa \\[The History of the Dome of the Rock and al-Aqsa Mosque\\],* Jerusalem, 1955.  \nBurgoyne, M., *Mamluk Jerusalem: An Architectural Study,* London, 1978.  \nAl-Hanbali, Mujir al-Din, (d. 927 / 1520), *Al-Uns al-Jalil bi Tarikh al-Quds wa al-Khalil \\[The Significant Ambiance in the History of Jerusalem and Hebron\\],* Amman, 1973.","linkcatalogs":"IAM_EG_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Copper","engraving","epigraphic decoration","inscription.","kufic","rounded thuluth","Thuluth"],"materials":["Engraved copper."]},"a2a367cc-4a36-54aa-889e-518896791ecf":{"name":"Dish","short_description":"This massive, cast bowl rests on a flat 2mm wide footring with 103mm diameter and has a flat 2cm wide rim. The rim is bulged at its edge. The engraved decoration is confined to its interior. The centre is decorated with a roundel demarcated by five concentric circles. The central motif is a harpy in profile with its head facing towards the viewer. The harpy has a pointed head. The wing and parts of the tail as well as eyes, nose and mouth are indicated by sketchy lines. The drawing is surrounded by an inscription band repeating the same word four times, maybe a stylized abstraction of the word *baraka* or *salama*. The words are separated by four circles. The plain wall contrasts and emphasizes the densely engraved medallion and similarly decorated rim. Here, an illegible word is repeated and interrupted by four medallions this time filled with a stepping bird in profile. The background of the harpy and the inscriptions are filled with foliage.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 6th century / AD 12th century","location":"Bamberg","dimensions":"Diameter: 260mm","method_for_datation":"Harpys occasionally occur on 12th/13th century metal bowls and trays but are by far not as frequent as human headed winged lions. The most similar design can be found on a square tray in the V&A (inv. no. 181-1951).","provenance":"Ghazni / Afghanistan","obtention":"Gift by Mrs Renate Kirchhof, Bonn 2019","bibliography":"Melikian-Chirvani, Assadullah Souren, *Islamic metalwork from the Iranian world, 8-18th centuries*, Victoria and Albert Museum catalogue, London: HMSO, 1982: 29-30 fig. 29.","author":"Verena Daiber","copy_editor":"Daniel de la Vega","keywords":["Dish","harpy","inscription","metalwork"],"materials":["Copper alloy"]},"a34c1a9f-ced6-5d46-9b24-f76e88d32863":{"name":"Sword.","description":"This sword, produced in the Mongol style, consists of four parts: the blade, hilt, cross-guard and scabbard. This style of weaponry, which filtered through to Persia, was known by the name of *al-Shamshir.*  \nThe blade is narrow and tapers at the head. It is attached at the top by a wooden hilt in the middle of which is a notch 1.5 cm wide. Inserted in the blade is a copper band decorated with gold lines. A cross-guard separates the blade from the hilt assuming a cruciform shape, and the long side of which is perpendicular to the hilt and the sword blade, its two sides ending in two ornamental globules. There is an inscription on each side of the cross-guard.  \nThe blade also bears decorative engraved inscriptions such as Qur'anic verses, popular sayings and poetry stanzas. One of the two edges of the sword bears illuminated inscriptions with an illuminated frame. One of them reads: “There is no hero like 'Ali and no sword like Zulfikar”. And another reads: “Oh Judge of Necessities”. Written on the blade at the hilt is the following text: “Victory is from God and Conquest is near, year AH 785 \\[AD 1383\\]”. There are two non-illuminated inscriptions engraved on the blade within a cartouche. The first reads: “The work of As'ad Allah”. And the second: “‘Abbas bi Nadir Shah”. In the middle of the blade is an inscription that extends approximately 43 cm. It consists of what is probably popular poetry and begins with the verse: “Unsheath the sword of destruction from its scabbard of support and cleave with it, the preponderance of envy and aggression”.  \nThe scabbard is made of wood, copper-plated at the top to about 18.5 cm. There are three engraved inscriptions written in *thuluth* script on the copper section. The inscriptions are contained within a linear frame that is surrounded by depictions of flowers and vegetal stems. The copper section is adjacent to two bands each of which is 7 cm wide. A 27.5 cm-long copper section at the end of the scabbard holds five inscriptions; its decoration is similar to that on the copper hilt. In the area between the two copper sections, the scabbard is covered with a piece of carpet-like fabric 47 cm long, woven in red, brown and gold. The inscriptions on the scabbard include popular sayings and poetry in praise of the sword and supplications to God for victory.","short_description":"This sword consists of the scabbard, blade, hilt and cross-guard. It is in the Mongol style, which was taken to Persia. It has a narrow blade and the cross guard has a cruciform shape.  The sword is filled with inscriptions and vegetal decoration. The date engraved on it does not concur with the lifespan of its maker, As'ad Allah.","type":"Sword, blade, arms, armours","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Shah ‘Abbas I (r. AH 996–1038 / AD 1588–1629).","dates":"Hegira 785 / AD 1383.","location":"Jerusalem","dimensions":"Entire length 107 cm, length (of blade) 90 cm, width (of blade) 3.3 cm, length (of Scabbard) 93 cm.","method_for_datation":"This sword has an inscribed date on it, but like tens of other swords it poses a historical puzzle. The date of production engraved on it does not agree with the life-span of the original owner, Shah ‘Abbas I. In addition, it does not concur with the life-span of its craftsman, As'ad Allah, who was a renowned sword-maker and a contemporary of Shah ‘Abbas. It is worth noting that there are about 300 swords distributed in museums worldwide that are associated with As'ad Allah and bear his name. The oldest of them is the sword exhibited here, which dates to 785 / 1383; the most recent dates to 1223/ 1808. Thus, the association of the swords to this skilled craftsman continued for more than four centuries.","method_for_provenance":"Iran has been narrowed down as the place of manufacture of this sword because the craftsman associated with it and original owner have links with Iran.","provenance":"Iran.","bibliography":"—————, *Al-Asliha al-Islamiya: al-Suyuf wa al-Duru' \\[Islamic Weaponry and Armour\\],* The King Faisal Centre for Research and Islamic Studies, (n.d).  \nElgood, R., *Islamic Arms and Armour,* London, 1979.  \nMayer, L., *Islamic Armours and their Works,* Geneva, 1962.","author":"Khader Salameh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["armours","arms","Asad Allah","cross-guard","epigraphic decoration","hilt","Scabbard","Thuluth","weapon","weaponry"],"materials":["The blade: forged and smelted cast steel with engraved inscriptions","the scabbard: Wood and copper with fabric."]},"a3a8aae6-65cc-5236-8f7a-c26a5394e549":{"name":"Incense Burner","short_description":"This is a hollow cast incense burner in the shape of a bird. It is perforated in the chest, wings and around the neck. Openings are on the crest, neck, chest and underside. Those on the underside are very small and positioned at both ends of the surface.  \nThe eyes are slightly elevated, engraved feathers reach till the shoulders. A *kufic*\\-inscription runs across the shoulders and is interrupted by the wings. A perforated spiralling tendril ornament is on the chest, with an opening in the middle. The wings are ribbed and have engraved twirls, tendril-medallions and an elevated centre. A tendril ornament with a central axis of symmetry runs across the back. Schematic feathers cover the remaining body.  \nIncense was inserted into the chest opening and could escape through the heavily perforated surface.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 5-7th century / AD 11th-13th century","location":"Bamberg","dimensions":"Height: 21.8cm, Width: 13.7cm, Weight: 0.61kg","method_for_datation":"Based on a stylistic analysis of its motifs and similarities to objects of other collections.","provenance":"Persian world","obtention":"Purchased from Marko Pollo Ltd. London in 2012","author":"Anita Mangalath","copy_editor":"Daniel de la Vega","keywords":["Afghanistan","animal","bird","bronze","Incense burner","Inlaid metalwork","inscription","Iran","Iranian world","metalwork","Persian world"],"materials":["Bronze","cast","engraved","perforated"]},"a46e70b6-0a07-57b9-ad2a-d974179b2424":{"name":"Water jug","alternate_name":"Ibriq wudhu'","description":"A copper circular-shaped ewer with a very narrow neck, arched handle and strait long nozzle, used in mosques of Jordan and Palestine to wash before praying. This is another example of how the same objects, traditions, and activities were common in territories that now belong to different Arab states. In the late 19th century and early 20th century, there were still no boundaries between the Arab states and this – together with the lack of geographical barriers – made population movements, nomadism and migration a common factor influencing the everyday life and exchanges in the local society. The local economy, which relied heavily on trade and crafts, depended also on travel and migration in order to sell products or find markets for craft products.","type":"Cultic object","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"a4875aeb-1924-50cf-86dd-381b662ed9ad":{"name":"Incense burner","short_description":"Bronze incense burner, the openwork body and lid suggesting a domed building, the feet those of a quadruped; inscribed in *kufic* script, \"Blessing to Abi \\[I\\]shaq bn \\`Isa, may God prolong his glory.\"","type":"Vessels & receptacles","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira 4th–5th century / AD 10th–11th century","location":"Kuwait City","provenance":"East Iranian World","keywords":["calligraphy","inscription","kufi script","openwork"]},"a607d090-ec21-5282-9640-2e98c5e970b6":{"name":"Door knocker.","description":"A door knocker that belonged to the Madrasa al-Shadhbakhtiyya in Aleppo, commissioned by the Ayyubid ruler al-Malik al-Zahir Ghazi (r. AH 582–613 / AD 1186–1216). The school was named after Shadhbakht, an '*atiq*, or freed slave, of al-Malik al-‘Adil Nur al-Din Mahmud bin Zangi (r. AH 541–69 / AD 1146–74).  \nThe door knocker is a bronze flower-shaped ring that takes the form of six semi-circles with intermitting small protrusions. At the top of the knocker is a bolt that would have been used to attach it to the door. Along the body of the knocker is an easily legible Arabic inscription in *thuluth* script that reads: “In the days of al-Malik al-Zahir, who begs for the mercy of God, Shadhbakht the freed slave of al-Malik al-‘Adil Nur al-Din, may God have mercy upon them.” Some simple decorative vegetal motifs are located between the words of the inscription.  \nEducation in the early Islamic period took place in the mosques, and much of religious education continues to do so. Nevertheless, the Seljuq, Atabeg and Ayyubid periods witnessed a flourishing of specialised education centres dedicated to the study of theology and legal issues. These were known as *madrasas*.","short_description":"A flower-shaped door knocker that was once attached to the gate of the Madrasa Shadhbakhtiyya in Aleppo is inscribed with the patron's name in an easily legible and finely decorated script.","type":"Knocker, door, metalwork","holder":"National Museum of Damascus","initial_owner":"Al-Malik al-Zahir Ghiyath al-Din Ghazi (r. AH 582–613 / AD 1186–1216).","dates":"Hegira 589 / AD 1193.","location":"Damascus","dimensions":"Diameter 37 cm.","method_for_datation":"A text recorded on the door of the *madrasa* mentions that it was constructed during the reign of al-Malik al-Zahir Ghazi in 589 (1193).","method_for_provenance":"Since the piece belongs to the door of the Madrasa al-Shadhbakhtiyya in Aleppo, it is assumed that the door knocker was manufactured in Aleppo.","provenance":"Aleppo, Syria.","obtention":"Purchased in 1939.","bibliography":"Abu al-Faraj al-Ush, M., *A Concise Guide to the National Museum of Damascus,* Damascus, 1969, p.244.  \nCluzan, S. et al (eds), *Syrie: Mémoire et Civilisation*, Paris, 1994.  \nSoustiel, J., and Kiefer, C., *La céramique islamique*, Fribourg, 1985, p.426.","author":"Mona al-Moadin","translator":"Hilary Kalmbach (from the Arabic)","translation_copy_editor":"Mandi Gomez","keywords":["al-Malik al-‘Adil Nur al-Din","al-Malik al-Zahir Ghazi","Aleppo","bronze","Door knocker","madrasa","metalwork","Thuluth"],"materials":["Moulded bronze."]},"a610d51e-269b-57af-bb7c-ff15d5cae8f8":{"name":"Pen box","short_description":"Pen boxes with separate compartments for the *qalam* and all the other accessories were used all over the Islamic world. They were fashioned in numerous shapes, most of which are rectangular with either square or rounded ends. A different type is the East Iranian wedge shape, made in two parts, with an inner, compartmented box that could be entirely removed. These pen boxes were probably pushed through the belt, a fashion which was retained up until Ottoman times.","type":"Metalwork","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1200 / c. AD 1800","location":"Kuala Lumpur","dimensions":"26.6cm","provenance":"Turkey","bibliography":"Islamic Arts Museum Malaysia, *Mightier than the Sword*, Kuala Lumpur: IAMM Publications, 2004: 172-173. *Islamic Arts Museum Malaysia*, Volume 2, Kuala Lumpur: IAMM Publications, 2009: 287-293.","materials":["Cast and engraved silver"]},"a65b9f90-12e9-50e4-9065-9d1274ef0a10":{"name":"Incense Burner.","description":"An incense burner of great beauty and fine workmanship that is also in very good condition. The engraved inscriptions on it indicate that the Mamluk sultan, al-Zahir Sayf al-Din Abu Said Muhammad Jaqmaq endowed it to al-Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil), where it remained for a number of centuries until it was transferred in 1928 to the Islamic Museum in Jerusalem. The burner is elongated in form and has ribbed and curved surfaces. It is composed of three sections: the bottom section, the top section and the attachment and chains. The bottom section of the burner is a spherical container in the shape of an inverted dome in concordance with the top section of the burner, which takes the form of an elongated dome. The upper part of the bottom section is spherical, transforming into a ribbed surface with 12 faces and terminating in a ribbed edge that also has 12 faces. The spherical surface contains gilded epigraphic decorations that read: “There is no God but God, Muhammad is the prophet of God and Ibrahim \\[Abraham\\] is the friend of God. This blessed burner was endowed by our lord, the Sultan, the Sovereign, the Ruler, al-Zahir Abu Said Muhammad, May God strengthen his triumph, to al-Haram al-Ibrahimi”. The burner rests on a slightly elevated base, which widens towards the bottom; it is ribbed with 12 sides and is decorated with gold lines.  \nThe upper section is the cover or lid. It is in the shape of a dome faced by two spherical forms: the upper, smaller one and the lower. This section of the burner contains two inscriptions. The bottom of the cover has a ribbed surface of 12 faces, each containing vegetal decoration in the form of a lotus blossom. The cover terminates in a ribbed edge.  \nThere are three suspension loops on the top of the lower section attached to which are chains; the chains are attached to the three suspension loops on the bottom of the burner. The attachment and chains is in the form of a small dome, the apex of which is connected to the hook for hanging. The dome of the attachment is ornamented with vegetal decoration in addition to 12 small spheres, which adhere to the ribbed neck. There is a gilded inscription on the attachment that reads: “The burner is thus the burner of the humble servant, Abd al-Qadir bin Muhammad Qabzi”.","short_description":"This burner was donated, as indicated by its gilded inscriptions, by Sultan al-Zahir Jaqmaq.  It is an elongated burner with ribbed surfaces with twelve divisions.  It is composed of three sections: the bottom, the upper section with the lid, and the attachment and chains. It is decorated with vegetal motifs.","type":"Incense, burner, copper","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Sultan al-Zahir Sayf al-Din Abu Said Muhammad Jaqmaq (r. AH 842–57 / AD 1438–53).","dates":"Hegira 842–57 / AD 1438–53.","location":"Jerusalem","dimensions":"Height 42 cm, height (when suspended) 103 cm, diameter 14 cm.","method_for_datation":"This piece was dated by the inscriptions that indicate this incenser belonged to Sultan al-Zahir Jaqmaq.","method_for_provenance":"It is probable that the incenser was made in Cairo for its construction resembles other objects from the ateliers in Cairo during this period. The incenser was endowed to the Haram al-Ibrahimi in Hebron by the Mamluk sultan, al-Zahir Sayf al-Din Abu Said Muhammad Jaqmaq, an assertion based on the inscription.","provenance":"Probably custom-made in Cairo specifically for al-Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron (al-Khalil).","obtention":"The piece was transferred from the Haram al-Ibrahimi (the Ibrahimi Mosque) in Hebron to the Islamic Museum in Jerusalem in 1928.","bibliography":"Abu Khalaf, M., *Islamic Art Through the Ages: Masterpieces of the Islamic Museum of al-Haram al-Sharif,* Jerusalem, 1998.","linkcatalogs":"IAM_EG_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Copper","Incense burner","Mamluk Incense burner","Mosque interior decoration"],"materials":["copper","engraved and inlayed with gold."]},"a672ca3f-2b88-56b6-9ef8-4b188d9eb591":{"name":"Jug","short_description":"This jug, with its rounded body, cylindrical neck with cover and dragon-shaped handle, is one of the few surviving examples of sixteenth-century Ottoman silver. Several similar objects are currently preserved in museums and collections outside Turkey. The jug is reminiscent of the metal or jade Timurid vessels inspired by the art of the Mongol period. The differences concern not so much the shape as the various decoration techniques: whereas the Timurid metal vessels are inlaid with silver, the Ottoman wares feature hammered, engraved, and chiselled motifs. The raised decoration on the body, neck and cover is characteristic of the first half of the sixteenth century: the composition combines *rumi* (half-palmettes) arabesques and motifs of Chinese origin. This decorative repertoire, still closely linked to Timurid traditions, but likewise indebted to Balkan silver, was also typical for the Ottoman ceramics of the time. The jug was probably donated to the Monastery of Bistriţa (Vâlcea County) by a boyar or a voivode. Its exquisite workmanship testifies to the opulence and refinement of the Romanian princely courts, extensively documented, but illustrated only by a few extant objects.","type":"Metalwork","holder":"The National Museum of Art of Romania","dates":"Hegira 10th century / AD first half of the 16th century","location":"Bucharest","dimensions":"Height: 12cm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Ottoman Empire","obtention":"Transferred in 1948 from the National Museum Carol I in Bucharest.","bibliography":"Atıl, E., *The Age of Sultan Suleyman the Magnificent*, Washington, D.C. / New York: National Gallery of Art, 1987.  \nDunca, M., *Islamic Art at the National Museum of Art of Romania*, Bucharest: National Museum of Art of Romania, 2015: 62, no. 21.  \nNicolescu, C., *Argintăria laică şi religioasă în ţările române (sec. XIV-XIX)*, Bucharest: Muzeul de Artă al Republicii Socialiste România, 1968: 87, no. 56, fig. 41.","author":"Mircea Dunca","keywords":["Rumi"],"materials":["Cast silver","chiselled","engraved","hammered","parcel-gilt"]},"a7975af2-f089-5f5c-97c2-595f06698d70":{"name":"Lidded bowl.","description":"A lidded bowl made of cast brass, turned and engraved with interlaced arabesque decoration. It has a rounded bottom and a flat, tight-fitting lid. Though much of the silver inlay has fallen off, there are still some traces of it on the base and sides of the bowl. The inside of the lid has an engraved decorative roundel in its centre. As the lid fits tightly, it is believed that the container was intended to hold incense or spices.  \n  \nAlthough this box was made in Mamluk Syria, it was intended for the European market, specifically Venice. In the 19th century, scholars thought that this type of metalwork was made by Muslim craftsmen living in Venice, and therefore called it: 'Veneto-Saracenic', but research has since shown that such items were actually made in Mamluk Syria and Egypt specifically for export to the Venetian market.","short_description":"This round-bottomed brass bowl is covered with an interlaced arabesque decoration, which was inlaid with silver. It was most probably used as an incense or spice container, and made by Mamluk craftsmen in Syria or Egypt for the Venetian market.","type":"Metalwork, brass,silver","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Hegira 9th–10th century / AD 15th–16th century.","location":"Glasgow, Scotland","dimensions":"Diameter 15 cm.","method_for_datation":"Artistic analysis and comparison with other examples of metalwork made for the European market during the 9th–10th / 15th–16th centuries.","provenance":"Damascus, Syria.","obtention":"Purchased as part of a larger collection of items in 1883.","bibliography":"Ward, R., *Islamic Metalwork*, London, 1993.","linkcatalogs":"IAM_EG_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["arabesque","Commerce","geometric decoration","Veneto-Saracenic"],"materials":["Engraved brass with silver inlay."]},"a8588fa2-895f-5882-88bf-58da30358b87":{"name":"Basin","short_description":"This basin is made of cast brass and has a wide rim decorated with arabesques of winding split-leaves. On the bottom there is a rosette that imitates the solar rosettes ornamenting the frontispieces of 16th-century Safavid manuscripts.","type":"Basin, metalwork","holder":"Benaki Museum","dates":"Hegira 10th century / AD late 16th century","location":"Athens","dimensions":"Diameter 36 cm.","provenance":"Iran","keywords":["Basin","metalwork","Safawid"],"materials":["brass"]},"a9281dfb-f5ce-5f06-9747-94bf00a2f99e":{"name":"Shield","description":"These shields were used by the Ottoman soldiers in Lebanon in the 19th century to quash resistance movements. As the Lebanese resistance had no weapons of their own, the fighters frequently ambushed Ottoman soldiers and took their weapons. This shield is an example of such weaponry, which was taken by the resistance and used against the Ottomans. It was used mainly by foot soldiers, and was hand-held with straps going around the wearer's arm. Although ineffective against newer weaponry such as guns, the shield was used by soldiers to deflect arrows or swords. It is made of cast steel, with no decorative elements of notes. It features four bosses and reverse arm fixings.","type":"Military object; arms and armour","holder":"Lebanese Heritage Museum","dates":"Early 19th century","location":"`Ayn Najm","provenance":"Turkey","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"a95a9e29-14b9-5735-9d43-669aa2fbc365":{"name":"Bottle","short_description":"This flat-based, funnel-necked bottle can be used for daily needs. There are many examples of this kind of vessel, although the torqued body seems to be unusual. One other example from Nishapur looks similar and served as the base for reconstructing this one. The bottle of the Bumiller Collection bears two inscriptions, one just above the base and the other below the rim. The one below the rim is upside down, which indicates that this was not the original piece, but possibly a foot of another vessel. It could not be read. The one on the bottom, however, states good wishes and piousness of the owner.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 3-4th century / AD 9-10th century","location":"Bamberg","dimensions":"Height: 16.8cm, Diameter mouth: 4cm, Diameter body: 10.4cm","method_for_datation":"By stylistic analysis and through comparison","provenance":"Persian World","obtention":"Purchased from Yazdani, London in 1992","bibliography":"Allan, James W., *Nishapur. Metalwork of the early Islamic period*, New York: Metropolitan Museum of Art, 1982.  \nBaer, Eva, *Metalwork in medieval Islamic art*, Albany: State University of New York Press, 1983.  \nDahncke, Monika, Bumiller Manfred, Riederer, Josef, *Enghalsflaschen. Typologie frühislamischer Bronzen der Bumiller-Collection, Schriften des Museums für Frühislamische Kunst in Bamberg 5*, Bamberg/Wiesbaden: Reichert, 1997.","author":"Tamara Haller","copy_editor":"Daniel de la Vega","keywords":["bottle","metalwork","torc","torque"],"materials":["Bronze","cast","chased","engraved","fused"]},"a96d02ab-fea4-5e29-9dc5-16c7773c9331":{"name":"Ewer for Zamzam water","short_description":"The ewer is unsual in that the cover for the mouth and the stopper for the spout are both screw-threaded, which allows them to be securely sealed in place. This implies that their purpose was more than keeping insects and the like away form the contents; rather, they were meant to minimize evaporation, a factor which has lead to the designation of such vessels as containers for Zamzam water. The somewhat flattened sides also allowed the ewer to be carried suspended from a saddle during the journey back from hajj. An almost identical ewer in the Louvre, Paris, which was on display at the Louvre Abu Dhabi in March 2018, still retains the chain which allowed the ewer to be suspended from the two loops on its sides, and which is now missing from the Khalili ewer.","type":"Ewer; Zamzam ewer; *tombak*; gilded copper","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"AD second half of the 18th century","location":"London","dimensions":"Overall height: 33cm","method_for_datation":"Provenance and date are based on stylistic grounds.","provenance":"Turkey","obtention":"Villanfray & Associés, Drouot, Paris, 21 December 2017, lot 309.","author":"Nahla Nassar","keywords":["Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","pilgrim flask","pilgrimage","prayer","Prophet Muhammad","Religion","water"],"materials":["cast and engraved decoration","chain of thick copper wire","Gilded copper (tombak)","piece cast"]},"a9b80a0b-c333-5d03-b325-0cba0190cdc5":{"name":"Basin.","description":"A large brass basin with a wide everted rim, resting on three rounded feet. The surface of the basin is extensively decorated with both calligraphic and figural ornament inlaid in gold and silver; the decoration is unusually well preserved. The exterior decoration consists of a reciprocating floral design flanking an epigraphic band in six sections divided by small roundels with strap-work designs. The calligraphy, which is set above a floral arabesque design, reads: 'Glory to our master, the king, the royal, the learned, the just, the defender [of the faith], the champion [of Islam], the warrior [of the frontiers], the protector [of the frontiers], pillar of Islam and of the Muslims, protector of the weak and the poor, crown of kings and sultans, reviver of justice among all, defender of truth and proof. Glory and prosperity to the owner'. In contrast to the relatively restrained decoration on the exterior of the basin, the interior features a lively ensemble of figural decoration, including roundels with galloping riders, seated lunar figures, and rows of standing figures bearing arms. There are even ducks flying in and out of animated inscriptions. It is unclear just for whom such a splendid basin would have been produced, as the inscriptions, while fulsome, are ambiguous; while they include many standard royal benedictions, they do not mention a specific ruler or even use the word 'sultan'. The basin seems to have been made for the use of an anonymous, probably very wealthy patron.","short_description":"A large brass basin with three rounded feet, decorated with gold and silver inlay comprising an extensive programme of calligraphic, floral and figural ornament. The inscriptions, while fulsome, are ambiguous and do not even include the word ‘sultan.’ Hence the patron remains anonymous.","type":"Metalwork, brass,silver, gold","holder":"Victoria and Albert Museum.","dates":"Around hegira 700 / AD 1300.","location":"London, England","dimensions":"Height 18.5 cm, diameter 42.5 cm.","method_for_datation":"The style is that of early Mamluk metalwork, in which the motifs and techniques developed by the Ayyubids were carried on with great panache. Figural imagery, though, disappears from Mamluk metalwork by the middle of the 8th / 14th century, allowing us to place this basin around 700 /1300.","method_for_provenance":"Cairo and Damascus were the two most important centres of art production under the Mamluks.","provenance":"Cairo or Damascus.","obtention":"Purchased by the Museum in 1898.","bibliography":"Stanley, T., with Rosser-Owen, M. and Vernoit, S., Palace and Mosque: Islamic Art from the Middle East, London, 2004, p.34.","linkcatalogs":"IAM_EG_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["calligraphy","figurative decoration","floral decoration","water"],"materials":["Brass inlaid with gold and silver."]},"a9f4d4b8-28f3-5859-9dd0-a35478d37a9f":{"name":"Planispheric astrolabe","short_description":"This planispheric astrolabe was, as an inscription on its back states, made by Hamid ibn al-Khidr al-Khujandi, an eminent astronomer and mathematician at the court of the Buyid ruler Fakhr al-Dawla (r. AH 366-387 /AD 977-997). The rete of this particular astrolabe has markers for 33 stars, six of which are shown by the beaks of stylised birds. Markings on the back suggest that it may have been designed for use in Baghdad, possibly by another member of the Buyid family.","type":"Scientific instrument, metalwork","holder":"Museum of Islamic Art","dates":"Hegira 374 / AD 984-985","location":"Doha","dimensions":"Height: 21.1 cm, width:15.1 cm, depth:3.1 cm","provenance":"Iran, Rayy or Iraq, Baghdad","obtention":"Martine-Marie-Pol, Comtesse de Béhague (1870–1939); Jean-Louis, Marquis de Ganay (1922–2013) until  \n1970; Alain Brieux (1922–1985) in Paris until 1976; Jasim al-Homaizi Collection until 1999; sold to Qatar Museums","bibliography":"Allan, James W., *Metalwork Treasures from the Islamic Courts*, London: The Islamic Art Society, 2002.  \n  \nGonnella, Julia, et al, *Museum of Islamic Art: The Collection*, London: Thames & Hudson, 2022.  \n  \nSeipel, Joseph H., *God is Beautiful and Loves Beauty: The object in Islamic Art and Culture*, New Haven: Yale University Press, 2013.  \n  \nSoueif, Ahdaf, *Reflections on Islamic Art*, Doha: Bloomsbury Qatar Foundation Publishing, 2011.","author":"Tara Desjardins","keywords":["astrolabe","astronomy","Buyid","Hamid ibn al-Khidr al-Khujandi","Iran","Iraq","metalwork","science"],"materials":["Black compund","brass","Casting","Engraving","Iron","openwork","Riveting"]},"aaef1d8a-bfc0-52ec-a6fc-9e01b30cc9d4":{"name":"Capsule-charge handgun","description":"A capsule-charge gun called *Ida o Semlale* and crafted in southern Morocco in the early 19th century.","type":"Arms; firearms; weapon","holder":"Dar Si Said Museum","dates":"Early 20th century","location":"Marrakesh"},"ac145afe-b9b0-58dd-85c6-6ba8e3edd580":{"name":"Coffee pot with matching zarfs","description":"A coffee pot with a globular body decorated with an arabesque design. The six zarfs are decoraed with a series of panels with floral motifs.","type":"Pot and zarfs","holder":"Benaki Museum","dates":"AH 1163-1214/Second half of the 18th century","location":"Athens","dimensions":"Pot height:21cm, zarfs height:5cm, rim diameter: 6.5cm","method_for_datation":"Stylistic analysis","provenance":"Turkey","obtention":"Acquired in Greece","author":"Mina Moraitou","copy_editor":"Judy Harter","materials":["copper","sliver gilt decoration"]},"ac84039d-3144-5f9c-8ce4-fc3ba271ae28":{"name":"Bronze mirror with sphinxes and *kufic* inscription","short_description":"This cast, round mirror is decorated with reliefs and a perforated lug handle in the centre. Carved on the back of the mirror is pair of sphinxes with scorpion tails surrounded by floral ornament. A *kufic* inscription around the rim reads: \"Oh God, I invoke Thy sublime Name! God, the Only and Eternal God – I have sworn to Thee by the truth of these names, the angel who watches over Saturn, … sworn by the Master whose works encompass all names and every name, that Thou shouldn’t send me one of Thine angels into this, my mirror, who shall inform me of everything I ask him about what comes to pass in this world and the next. And, by the Lord of Heaven: Thou hast sent me an essence of Thy mighty and intensive spirituality which comes down to me in this mirror and reveals itself to me. He tells me everything which I ask him and obeys me in everything which I order him to do …. Whosever only sees themselves in their dirty and impure state of being, the blame lies with them – and so be it / peace be with God.\"  \nThe Seljuq period saw an increased production of circular cast-bronze mirrors with fully decorated backs and there are several identical objects in other collections, including the Metropolitan Museum of Art, New York and the British Museum, London. The sphinxes, the most popular iconography of the period, have been a symbol of the sun since ancient times. This specific motif additionally relates the astrological sign, Scorpio. Combined with the inscriptions, these mirrors possibly functioned similarly to magic amulets in holding an apotropaic power to ward off evil.","type":"Mirror","holder":"MKG Museum for Applied Arts","dates":"Hegira 6th-7th / AD 12th-13th century","location":"Hamburg","dimensions":"Diameter: 10.8cm","method_for_datation":"By comparison with similar dated objects, regarding style and inscriptions.","method_for_provenance":"Prepossessor: Staatliche Münzsammlung München.","provenance":"Iran","obtention":"Purchased in 1929.","bibliography":"Allan, James W., *Metalwork of the Islamic World: The Aron Collection*, London: Sotheby’s, 1986.  \nCanby, S. R., Beyazit, D., Rugiadi, M. et al., *The Great Age of the Seljuqs: Court and Cosmos*, New York: The Metropolitan Museum of Art; New Haven: Yale University Press, 2016.  \nChirvani, A., *Islamic Metalwork from the Iranian World*, London: Victoria and Albert Museum, 1982.  \nLa Niece, S., Ward, R., Hook, D., Craddock, P., “Medieval Islamic Copper Alloys,” in P. Jett, B. McCarthy and J. G. Douglas (eds), *Scientific Research on Ancient Asian Metallurgy: Proceedings of the Fifth Forbes Symposium at the Freer Gallery of Art*, London: Archetype, 2012.  \nPope, A. U., *Masterpieces of Persian Art*, New York: Asia House, 1954. Porter, V. and Rosser-Owen, M., *Metalwork and Material Culture in the Islamic World: Art, Craft and Text: Essays Present to James W. Allan*, London: I. B. Tauris, 2012.  \nSavage-Smith, E. (ed), *Magic and Divination in early Islam. The Formation of the Classical Islamic World*, Aldershot: Ashgate, 2004.  \nWard, R., *Islamic Metalwork*, London: British Museum Press, 1993.  \nZambelli, P., *Astrology and Magic from the Medieval Latin and Islamic World to Renaissance Europe: Theories and Approaches*, Farnham: Ashgate 2012.","copy_editor":"Caitlin Link","keywords":["magic","metalwork","mirror","Sphinx"],"materials":["Cast bronze"]},"ad0914e2-b5f4-5b59-ac3d-9e7d33684eec":{"name":"Incense burner shaped as a bird","short_description":"This 11th–12th century Khorassan bronze cast incense burner shaped as a dove or a falcon reveals the impact of the pre-Islamic tradition of zoomorphic metalware in Iran. The bird’s body is masterly chased and engraved with ornaments emphasizing its refined plastics. The wings feature a medallion of seven roundels. The feathers of wings and tail are rendered as a scale pattern. At the base of the bird’s neck and on its head small holes are pierced to allow the smoke to escape. On the bird’s chest there is a square hole for a sliding incense box, which is lost. The inscription in Arabic *kufic* wishes “Glory and blessing” to the owner of the object.","type":"Metalwork; Incense burner","holder":"The Khanenko Museum","dates":"AD 11th–12th century","location":"Kyiv","dimensions":"Height: 18cm","method_for_datation":"Stylistic analysis and inscription reading by A. Ivanov (examination,  1966, date and origin), B. Marshak (examination, 1975, date specified).","method_for_provenance":"According to the entry in the old Museum Inventory Register (1925-1946).","provenance":"Khorassan, Iran","obtention":"Purchased by Bohdan and Varvara Khanenko in Paris from antiquarian Brimo (according to the museum archive documents). Donated by Varvara Khanenko in 1918, nationalized by Bolshevik regime in 1919.","bibliography":"Bilenko, H. and Rudyck (Rudyk), H., *Oriental Collection*, guidebook, Kyiv: The Khanenko Museum, 2005.  \nBilenko, Halyna and Vyshnevetska, Mariya, et al., *State Collections of Ukraine*, album, The Bohdan and Varvara Khanenko National Museum of Arts, 2009.  \nCanby, Sheila R., et al., *Court and Cosmos: The Great Age of the Seljuqs*, New York: The Metropolitan Museum of Art, 2016.","author":"Antonina Makarevych","copy_editor":"Janice Medina","keywords":["copper alloy","Incense burner","Iran","Khorassan"],"materials":["cast","Copper alloy (bronze)","engraved","pierced"]},"ad125621-18c6-5924-8844-db8d2b7fae55":{"name":"Coffee set","description":"Set contains tray, coffee pot (*cezve*), coffee jug with lid, sugar bowl and small bowl.","type":"Metalwork","holder":"Kational Museum in Kraków","initial_owner":"Muzeum Techniczno-Przemysłowe w Krakowie / Industrial Museum in Kraków","dates":"13th century Hegira / 19th century AD","location":"Kraków","dimensions":"Tray diameter: 26cm","method_for_datation":"Dating and origin based on stylistic grounds and similar pieces from other collections.","method_for_provenance":"Material and technique are characteristic for Turkish metalwork production in this period","provenance":"Turkey","obtention":"Gifted to the Industrial Museum in Kraków by Zdzisław Hordyński in 1920; collection taken over by NMK in 1950.","author":"Monika Paś","keywords":["coffee","Islam"],"materials":["engraved","forged","partially tinned copper"]},"ad8d142b-0f91-580b-88d2-b78b4b99e310":{"name":"Sherbet *gabi* and *pialas* set","description":"A set consisting of the vessel, a large tray and a number of *pialas* (a type of local bowl for drinking). The liquid (usually sherbet) from the vessel was poured into the *pialas* by a ladle and served to guests during feasts. The surface of the whole set is generally richly decorated with images of people, inscriptions in Arabic, and more. This particular set is decorated with human images and inscriptions that read as follows:  \n\"Husayn, the apple of Ahmad's eye,  \nMemory of Heydar!  \nAgain, what is this rebellion that has covered the people of the whole world  \nAgain, what is this song of mourning, what is grief, what is lament?  \nWhat a great resurrection this is again,  \nOn the day of resurrection, your trumpet will rise from the earth to the majestic throne.  \nThat’s why this sad morning has come,  \nThe people of the world turned upside down  \nAs if the Sun has risen from the west, so that the excitement would cover all parts of the world.  \nThere is so much sorrow in the palace of Jerusalem,  \nPeople in Jerusalem are very sad.  \nIt is the mourning of remarkable person, the most honourable of the children of Adam.  \nHusayn fluttered in blood in the soil in Karbala. Husayn is the light of the Land, West and the East, the Sun and the Sky. He grew up in the arms of the Prophet Muhammad.  \nHe (his soul) cries of the thirsty now from Karbala, reaching the highest Star.  \nWhile the eye of the wind cries at him  \nBlood began to flow on the porch of Karbala.  \nPeople didn't see *gulab* \\[rose water\\] but tears.  \nOn that day, the people of Kufa didn't even give him water.  \nThey had deep respect for the Karbala guest.  \nThey all drank and turned to the beast, and to the devil.  \nIn Karbala, Suleyman's water was drained.  \nThe enemy neighbours shamelessly  \nWent towards the tent of the Sultan of Karbala.  \nFate became a *Sahand* \\[obstacle, mountain\\] to zeal.  \nOut of fear of the enemy, a cry rose in the holy place.","type":"Tableware","holder":"Azerbaijan National Carpet Museum","dates":"Hegira 13th / AD 19th century","location":"Baku","dimensions":"Sherbet *gabi*: height: 59cm, diametre: 50cm; first *piala*: height: 6.5cm, diametre: 12.5cm; second *piala*: height: 6.5cm, diametre: 12cm; third *piala*: height: 7.5cm, diametre: 12cm; *majmayi*: height: 2cm, diametre: 61cm","place_of_production":"Azerbaijan","method_for_datation":"By stylistic and comparative analyses with related material","obtention":"Purchased in 1970; 1970; 1992; 1980; 1980","author":"Rustam Afandiyev","keywords":["piala","sherbet gabi","sini","Tableware","vessel"],"materials":["copper","engraved","hammered"]},"ada2243f-108b-5eed-b2bf-2399e60e1491":{"name":"Cauldron.","description":"A cauldron (a huge cooking pot) from the Complex of Khassaki Sultan, also known as a charitable institution or *takiyya* (asylum) for the needy. The building, completed in AH 964 / AD 1557, is located in Jerusalem. As a patroness of charitable institutions, Khassaki Sultan undertook the construction of this complex, and endowed it with a *waqf*. This establishment is considered to be one of the largest social institutions to survive from Ottoman Jerusalem. In its day, it offered meals, daily, to the poor of the city, students, scholars and others who were among those who were entitled to food in accordance with the requirements of the *waqf*. The number of people who benefited from this institution on a daily basis exceeded 1000, thus requiring the availability of large spaces to prepare huge quantities of food in enormous cooking utensils. Despite the changing administrative and political circumstances in Palestine during the past few centuries, this institution still occupies a minor social role today.  \nThe Islamic Museum acquired three cauldrons from the complex of Khassaki Sultan. The cauldron exhibited here was produced using tin-plated copper, constructed by means of coiled copper which forms part of the body of the cauldron. The coil is then fixed together with solid copper nails, as hammering was not used on these large pots as it was with smaller cooking vessels. The cavity of the cauldron has been fixed to the base by a series of nails that surround the junction of the base with the body. The vessel has four large carrying handles. The body is supported by a group of copper stays that sometimes form extensions to the handles and are fastened to the cauldron with nails, or that are simply located between two of the handles. It seems that the cauldron was coiled only in the middle of its cavity, for its hollow has been tin-plated and secured with copper nails in the same manner as was used to fix the base. The cauldron contains an inscription that appears to have been added at a later period, it reads: “The *waqf* of the late mother of the sultan who had built edifices in Jerusalem under the charge of Hajji Khalil Aga … designated formerly 1235 \\[AD 1819\\]”. There is another date next to this that reads, “1161 \\[AD 1748\\]”.","short_description":"This is a large cooking utensil made of copper that was used to prepare meals in the Khassaki Sultan charitable institution established in Jerusalem by the wife of Sultan Sulayman the Magnificent. The great size of this cauldron reflects the amount of food that was prepared on a daily basis.","type":"Tin plated, hammered Copper","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Khassaki Sultan (also known as Haseki Hürrem Sultan or Roxelana; d. AH 965 / AD 1558), wife of Sultan Sulayman, the Magnificent (r. AH 926–73 / AD 1520–66).","dates":"Hegira 10th century / AD 16th century.","location":"Jerusalem","dimensions":"Height 80 cm, diameter 131 cm.","method_for_datation":"The piece has been dated in accordance with the date of construction of the Complex of Khassaki Sultan, since it was probably made to be used there.","method_for_provenance":"The cauldron does not contain any distinguishing marks that enable us to narrow down the place of its manufacture. However, the manufacture of vessels such as this was, and still is, undertaken in Palestine and Syria so it is possible that this piece was made in one of these two places.","provenance":"Palestine or Syria.","obtention":"The piece was transferred from the Complex of Khassaki Sultan to the Islamic Museum in 1928.","bibliography":"Al-'Arif, 'A., *Al-Mafssal fi Tarikh al-Quds \\[An Articulation of the History of Jerusalem\\],* Jerusalem, 1999.  \nAl-Hanbali, Mujir al-Din (d. 927 / 1520), *Al-Uns al-Jalil fi Tarikh al-Quds wa al-Khalil. \\[The Significant Ambiance in the History of Jerusalem and Hebron\\],* Amman, 1973.","linkcatalogs":"IAM_TR_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["charitable institution","Copper","hammering","Khassaki Sultan","takiyya","Tin","Tin-plate"],"materials":["Tin-plated and hammered copper."]},"af522df8-2bb6-5764-b5cf-7a2ae9be0f31":{"name":"Kaaba Key","short_description":"Silver-inlaid inscriptions embellish this bronze key attached to a moon-shaped ring. Its unique profile safeguards the house of God in Islam.  \n  \nThe inscriptions bear religious and political messages, including Qur’anic verses and the name of Sultan Abd Al-Aziz, commissioner of this key in the 19th century.  \n  \nProphet Ibrahim and his son Ismail are believed to have raised the sanctuary’s foundations, carrying a sacred tradition of guardianship. Today, the Shayba family preserves the key in a bag made of silk, gold and silver. As authorized keykeepers entrusted by Prophet Muhammad (PBUH), twice a year, they unlock the Kaaba for purification with rosewater and holy water.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 44cm, Width: 12cm","place_of_production":"Turkey","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, calligraphy and inscription.","method_for_provenance":"The key was used to close the door of the Kaaba in Mecca, Saudi Arabia.","provenance":"Kingdom of Saudi Arabia, Mecca","obtention":"Purchase","bibliography":"Abbas, H., \"3 The Prophet\\`s Farewell and Delegating Spiritual Guardianship\", in Hassan Abbas (ed), *The Prophet's Heir: The Life of Ali ibn Abi Talib*, New Haven: Yale University Press, 2021: 71–91.  \nHawting, G. R., \"The sacred offices of Mecca from jahiliyya to Islam\" *The Arabs and Arabia on the Eve of Islam*, New York: Routledge, 1999: 244–267.  \nPeters, F., \"Chapter III. Building the Holy Land\" in F. Peters, *Mecca: A Literary History of the Muslim Holy Land*, Princeton: Princeton University Press, 2017: 107–154.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Bani Shayba","Kaaba","Key","Mecca","Saudi Arabia"],"materials":["Bronze","inlaying","Silver"]},"b1189adf-8651-54d6-9426-8461bdc5c6a6":{"name":"Figurine of a dog","alternate_name":"Personal belonging of Dimitrija Chupovski","description":"Dimitrija Chupovski (1878–1940) was the President of the Slav-Macedonian Scientific Literary Society in St. Petersburg also known as St. Petersburg Colony of Macedonians. Chupovski was also actively engaged in publishing of the periodical Macedonian and Russian-language publication, “Makedonski Golos” (“Macedonian Voice\"), first issued in 1912.","type":"Ornament; sculpture","holder":"Museum of Macedonia","dates":"Early 20th century","location":"Skopje","author":"Nada Andonovska (author)","copy_editor":"Daniel de la Vega"},"b1793356-8613-5a3e-be0c-5038c39a0c23":{"name":"Candlestick","short_description":"Bold calligraphic bands of *thuluth* became the main decorative element on Mamluk metalwork in the 8th/14th century, as is evident on this brass candlestick once inlaid with silver and gold, which is circumscribed by a prominent inscriptional band divided into two sections by a pair of large medallions bearing a smaller radial inscription. The inscribed texts supply the name and titles of the Mamluk Sultan, al-Salih ‘Imad al-Din Isma‘il (Hegira 743–746 / AD 1342–45).","type":"Furnishings","holder":"Los Angeles County Museum of Art (LACMA)","dates":"Hegira c. 742–746 / AD c. 1342–46","location":"Los Angeles","dimensions":"40 x 36.2cm","method_for_datation":"Inscribed in the name of the Mamluk Sultan, al-Salih ‘Imad al-Din Isma‘il (Hegira 743–746 / AD 1342–45).","method_for_provenance":"The candlestick is inscribed with the name of titles of the Mamluk ruler of Egypt and Syria.","provenance":"Egypt or Syria","obtention":"Collection of F. R. Martin (1868-1933), Sweden, until unknown date. Collection of Emile Tabbagh (died 1936), Paris and New York, until 1936 (sale, New York, Anderson Galleries, January 3, 1936). Collection of the McCollough Hall Historical Museum, Morristown, New Jersey, until 1978 (sale, New York, Sotheby Parke Bernet, May 13, 1978). Collection of Maan Z. Madina (1926-2013), New York, until 2002 (sold to); LACMA, The Madina Collection of Islamic Art, gift of Camilla Chandler Frost.","bibliography":"Komaroff, Linda, *Islamic Art at the Los Angeles County Museum of Art*, Rev. ed., Los Angeles: Museum Associates, 2005: 40.  \nKomaroff, Linda, *Lo Terrenal y lo divino: Arte islámico siglos VII al XIX Colección del Museo de Arte del Condado de Los Angeles*, Santiago, Chile: Centro Cultural La Moneda, 2015: 100.  \nKomaroff, Linda, *Beauty and Identity: Islamic Art from the Los Angeles County Museum of Art*, Los Angeles: Los Angeles County Museum of Art, 2016: 74.  \nTabbagh, Emile and Hyam, Leslie A., *Collection of Near Eastern and Early Mediterranean Art: Ceramics, Miniatures, Oriental Rugs, Ancient Glass; Property of the Estate of the Late Emile Tabbagh*, New York: American Art Association, Anderson Galleries, 1936: 36.","author":"LACMA Staff","keywords":["brass","calligraphy","inlay","inscription","Mamluk","metalwork","sultan al-Salih ‘Imad al-Din Isma‘il","Thuluth"],"materials":["brass","originally inlaid with silver and gold"]},"b1f14539-70d5-5a14-909d-01c8a05e4c73":{"name":"Standard (*‘Alam*)","short_description":"This standard, or *‘alam*, consists of two moving, intersecting discs. In the middle there are two more rotatable discs and a movable metal ball. This ensures a smooth movement occurs in the wind which plays with light and shadow. The openwork decor is made of iron and demonstrates the excellent quality of steel openwork from the Safavid period. As engraved on the lower cube, the object is the “Work of Master Hasan, son of Musa.” There are also suras from the Qu'ran engraved on the *'alma*, such as *Sura* number 24, Verse 35:  \n“God is the Light of the heavens and the earth; the likeness of His Light is as a niche wherein is a lamp (the lamp in a glass, the glass as it were a glittering star) kindled from a Blessed Tree 112 H (i.e., 1700/01).” The numerous inscriptions on the shaft repeat the following invocations: “Oh, Ali, help! Oh, Imam Husain, martyr! Oh, Imam Husain, relative (of the Prophet)! Verses from the Qu'ran referring to God as Light and the invocations of the Prophet’s family indicate the Shiite faith of the patrons who commissioned the standard.  \nThe *‘alam* is a heavy metal object filled with intricate figurines and engravings, carried on the top of a flag in Shia Muslim ceremonies marking the martyrdom of Imam Husain and those who fought alongside him at the battle of Karbala in AD 680. The battle was against an army loyal to Yazid, caliph of the emerging Muslim world, and happened on Ashura (the 10th day) in the Arabic month of Muharram. The earliest recorded state-instituted Ashura ceremonies took place in Baghdad during the Buyid period under Mu’izz al-Dawla in 963 – 964. Since then, Shia Muslims from all over the world perform the tribute ceremonies of Imam Hussein annually. The story of Karbala, which plays an important role in Shia Islam, is one of the main factors dividing them from Sunnis. The craft of the *‘alam* has evolved over the centuries deriving from the battle standards carried at Karbala by the Imam and his followers.","type":"Metalwork","holder":"MKG Museum for Applied Arts","dates":"Hegira 1112-1113 / AD 1700-1701","location":"Hamburg","dimensions":"Height: 86cm, Length: 49cm","method_for_datation":"Inscription: signed by Hasan, dated AD 1700-1701.","method_for_provenance":"Sayed Motammed, Frankfurt.","provenance":"Iran","obtention":"Purchased in 1991.","copy_editor":"Caitlin Link","keywords":["‘Alam","Ali","Ayat An-Nur","Hussein","light","Light-verse","Muharram","Shia"],"materials":["brass","copper","steel"]},"b214d6f9-ab2b-52ae-b45b-68eabaaedf14":{"name":"Basin","short_description":"This embellished, partially gilt and silvered basin originated in the Mamluk Empire and probably dates from the early 15th century. Craftsmen fleeing before the advancing Mongols helped make the Mamluk Empire a centre for damascened work. But a series of economic crises and the resulting shortage of precious metals led to a steep reduction in the number of objects featuring damascening produced in the 15th century; the elaborate technique was replaced by engraved decorations that were frequently silvered or gilt to enhance their preciousness. The final result almost rivalled damascened work but the much thinner covering used in gilding and silvering meant that artists required much less precious metal, resulting in greatly reduced costs.","type":"Vessels","holder":"Kunsthistorisches Museum","dates":"Hegira early 9th century / AD early 15th century","location":"Vienna","dimensions":"Diameter: 21.8cm","method_for_datation":"Arthistorical and historical analysis, archival and inventory research","method_for_provenance":"Listed in the AD 1875 inventory of the Münz- und Antikenkabinett","provenance":"Egypt?","obtention":"From the k.k. Münz- und Antikenkabinett","bibliography":"Leitner-Böchzelt, Susanne and Pfaffenbichler, Matthias (eds), *Die Welt des Orients. Kunst und Kultur des Islam*, Leoben: Stadtgemeinde Leoben, 2006.","copy_editor":"Liz Cooper","keywords":["damascening","engraving","furnishing","gilding","metalwork","Mongols"],"materials":["Bronze","partially gilded and silvered"]},"b219c708-5c5d-5d57-9001-066f44ad30a5":{"name":"Pen Case","short_description":"Intertwining geometric shapes, interlaced six-pointed stars and Qur’anic verses embellish the pipe-shaped pen cases. A pen or *qalam* is encased by the box called qalamdan which reveals another opening to fill with ink. In *kufic* calligraphy, the 35th verse from the Surat al-Nour stretches across the cylindrical body with the words “Allah is the light of the heavens and the earth”.  \n  \nOriginating from Ottoman Syria during the 19th century, the pen box represents a group of religious objects belonging to Mamluk Revival metalwork. Taking inspiration from the bronze hammered objects inlaid with silver and copper, the revival ware is most often cast into the desired shape. The interlaced hexagram and calligraphy style are recognizable traits of Mamluk art.  \n  \nThe art of writing the Qur’an reflects a significant form of worship, as the earthly materialization of God’s word. Writing tools, therefore, received exceptional attention, crafted from precious materials with Qur’anic verses as decorations. While the oldest qalamdan is dated 1148, Mamluk revival cases had a far-reaching influence in Europe and Asia.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 19cm, Width: 4cm, Height: 5cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and calligraphy style.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and calligraphy style.","provenance":"Syria","obtention":"Purchase","bibliography":"Baer, E., *Metalwork in medieval Islamic art,* Albany: Suny Press, 1983.  \nMilwright, M., \"Reviving the Past and Confronting the Present: Crafts in Syria and Egypt, c. 1875–1925\", *The Journal of Modern Craft*, 13 : 1(2020): 7–21.  \nMilwright, M. and Baboula, E., \"Damascene ‘Trench Art’: a note on the manufacture of Mamluk Revival metalwork in early 20th-century Syria\", *Levant*, 46 : 3 (2014): 382–398.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Mamluk Revival","metalwork","Ottoman","Pen case"],"materials":["Bronze","Engraving"]},"b29465cd-3c48-54c4-8f56-a91ebfdc4e87":{"name":"Mosque Lamp","short_description":"Floral and geometric patterns adorn this bronze lamp to be illuminated a mosque in Jerusalem. Since the emergence of the first mosques, lamps made of ceramic, glass and metal lit religious buildings modestly; however, metal lamps endured as the most popular in Palestine.  \n  \nIn the Palestinian territory, smiths crafted Christian and Muslim lamps in similar engraving styles and shapes from the Mamluk period, feeding their wicks with olive and other local oils. During Ramadan, the *muezzin* often suspended lamps in the minaret to light and blow out as an indication of fasting times.  \n  \nWith its large bell-shaped body, Arabic inscriptions in *thuluth* script, and the six-pointed star of Prophet Sulayman (Solomon) for good luck, the lamp represents a typical example of Mamluk metalware to cast light in devotional buildings in the Levant until today.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 97cm, Height: 157cm, Diameter: 70cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and style.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and style.","provenance":"Palestine, Jerusalem","obtention":"Purchase","bibliography":"Baer, E., *Metalwork in medieval Islamic art*, New York: Suny Press, 1983.  \nSardi, M., and Motsianos, I., \"Lighting in Muslim and Christian Religious Buildings\", in Costas Papadopoulos (ed), *The Oxford Handbook of Light in Archaeology*, Oxford: Oxford University Press, 2017.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["engraving","Mosque Lamp","Palestine"],"materials":["Bronze","Engraving"]},"b2951b28-6ec4-56f6-8f05-fa36ac2f0bef":{"name":"Mirror","short_description":"The silver facing of this mirror is a rare instant of precious metalwork to survive from the Fatimid era. It is decorated with typically Fatimid scrolls, heart-shaped motifs and benedictory *kufic* inscriptions. The mirror’s circular shape with a pierced central boss allowing a string to pass through and be used as a handle has its origins in China. The Chinese models may have reached Egypt either via Iran or by the Indian ocean and Red sea trade route.","type":"Mirror, metalwork","holder":"Benaki Museum","dates":"Hegira 5th-6th century / AD 11th-12th century","location":"Athens","dimensions":"Diameter 18 cm","provenance":"Egypt","keywords":["calligraphy","China","Fatimid","inscription","kufic","metalwork","mirror"],"materials":["cast iron","Silver"]},"b2d452de-0ae0-577e-b868-f2761e941b26":{"name":"Vase with stand","alternate_name":"Vaso con soporte","description":"This vase with stand reproduces the shape of the ceramic vase known as \"The Alhambra vase\" and the stand recalls the little tables of the Arab cafés. The technique used is damascening and references Arab techniques of metal decoration. It is a good example of the extension of the Neo-Mudéjar style, not only in the decorations, as the interlacing arabesques, or techniques, but also in the shape of the artworks.","type":"Metalwork","holder":"National Museum of Decorative Arts","dates":"1900–1936","location":"Madrid","author":"Ana Cabrera","copy_editor":"Anne Dowell"},"b2e397c6-490b-55a7-9d8c-c7b2478e307e":{"name":"Metal ewer with decorated handle","description":"A metal ewer with a swollen, rounded body and a short conical neck. The handle is decoratively shaped and more elaborate than earlier forms. The surface shows corrosion with traces of patina.  \nThis ewer was known as *Rafīq al-Jumʿah* (The Friday Companion), as it was used specifically on Friday mornings. The men of the household would gather around it to perform ablution one after another, and the sound of water striking the metal would rise like a purifying melody, restoring clarity to the soul before they engaged with the world. These ewers were always placed in elevated spots, as people believed that vessels used for ablution were not merely tools, but honoured hosts for water that would touch the body before reaching the heart.","type":"Ewer","holder":"Department of Antiquities","dates":"AH 6th - 9th / AD 12th–15th century AD","location":"Amman","copy_editor":"Judy Harter","keywords":["bronze","ewer","Mamluk","water"]},"b338f0aa-7763-5cb1-95e1-558ff691b64d":{"name":"Bowl","short_description":"This round-bottomed brass bowl with bulging sides was raised from a single sheet of brass and was finished by turning and polishing. Its engraved designs have been thickly inlaid with silver. Used for washing, it would have been proffered at arms’ length by a servant while another servant poured scented water from a similarly decorated jug or ewer over the hands of the bowl’s owner or guest. From that distance, the detail of the decoration as well as the Arabic inscription running around the exterior of the bowl could be appreciated. The fish within the bowl would have appeared to wriggle and swim as the water splashed over them.","type":"Bowl","holder":"Aga Khan Museum","dates":"1293–1341","location":"Toronto, Ontario","dimensions":"Height: 9cm, Diameter: 20cm","provenance":"Egypt or Syria","obtention":"Purchased at auction","author":"Alessandra Cirelli","keywords":["bowl","brass","Engraved","inscription","roundel","silver"],"materials":["brass","engraved and inlaid with silver"]},"b458b662-ea31-5d70-aeae-7c9d3510d350":{"name":"Dagger","short_description":"Sultan Ali Adil Shah of Bijapur (1558-1579) was depicted several times in contemporary miniatures with a similar dagger.  \nOne side of the hilt is made up of a lion holding a elephant between its paws, while a phoenix and a long-tailed dragon are engaged in a battle on the other side. The guard consists of two phoenixes whose heads are turned toward the steel blade.","type":"Dagger, metalwork","holder":"The David Collection","dates":"Hegira mid-10th century / AD mid-16th century","location":"Copenhagen","provenance":"India, Vijayanagar or Deccan","keywords":["animal decoration","armours","arms","imaginary animal","India","metalwork","Phoenix","Sultan Ali Adil Shah","weapon","zoomorphic imagery"],"materials":["gilded bronze hilt","set with a few rubies","Steel blade"]},"b4d34b89-c6b2-5e46-8e41-4f74dec4c93d":{"name":"Spice box.","description":"A circular spice box made from brass that is incised and inlayed with silver. The container is original but the lid is a replacement, a fact verified by the decoration on the lid being distinctly different to that on the container. The lid is decorated with concentric bands surrounding a roundel in the centre. The roundel contains an arabesque quatrefoil with secondary leaf motifs surrounded by a band of leafy scrolling. The pattern is interrupted by three roundels with motifs of eight-pointed stars, created from trefoils and leaf motifs, and issuing from a central lozenge motif. A broader band occupies the main part of the lid; it contains 12 complex interconnected knot motifs that are separated from each other by vertically disposed, twisted-rope designs. The composition issues from pseudo-*kufic* elements above and below. The outermost band repeats the decorative scheme of the border around the central roundel, but on this occasion it is interrupted by six roundels rather than three. The container displays a guilloche around the upper body. Below, separated from the guilloche by a ridge, the main part of the body has four large roundels with scrolling borders, filled with alternating arabesque scrolls and a coat of arms. The areas in between the roundels are filled alternately with a three-knot design, issuing from pseudo-*kufic* elements top and bottom, or a geometric interlace pattern, rising from a pseudo-*kufic* base and terminating in trilobal motifs. The lower body is enhanced by a band of leafy scrolling, interrupted by four roundels with quatrefoils.","short_description":"During the AH late 8th–9th / AD late 14th–15th centuries Mamluk metalworkers developed a range of wares specifically for the European market and decorated to European taste, a fact borne out by the appearance of European coats of arms and blazons on many examples. This box conveyed expensive spices to the West.","type":"Metalwork, brass, silver","holder":"National Museums of Scotland (NMS).","dates":"Hegira 9th century/ AD 15th century.","location":"Edinburgh, Scotland","dimensions":"Height (with cover) 7.62 cm, diameter 13.97 cm.","method_for_datation":"Containers such as this one were made specifically for the European market during the late 8th– 9th/ late 14th–15th centuries, a fact borne out by the appearance of European coats of arms and blazons on other examples of the period.","method_for_provenance":"Pieces like this are known to have been made in the Mamluk realm, probably Damascus, during the Mamluk period.","provenance":"Egypt.","obtention":"Purchased from W. Wareham, London, in 1870.","bibliography":"Atil, E., *Art of the Arab World*, Washington D.C., 1975, p.148, cat. no. 80.  \nCuratola, G., (ed.) *Eredita dell’ Islam: Arte Islamica in Italia*, Venice, 1993, p.486, cat. no. 303; p.487, cat. no. 304.  \nWard, R., *Islamic Metalwork*, London, 1993, p.115, fig. 92.","linkcatalogs":"IAM_EG_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["arabesque","pseudo inscriptions","Veneto-Saracenic"],"materials":["Incised brass with silver inlay."]},"b50f5b82-e3ac-5a21-8145-b3531c16ef84":{"name":"Basin.","description":"A circular copper basin with steep sides widening towards a slightly rounded base. The mouth is surrounded by a narrow, flat rim that projects outwards and which has an angular ridge running beneath it. The body of the vessel is decorated with a horizontal band terminating in a frieze of downward pointing lancet leaves above the base. The upper part of the band contains eight cusped roundels alternating with six decorated rectangles. The roundels contain geometric fretwork, alternating with a debased blazon. Inside the blazon is a central pen-case motif. In between the blazons are rectangular areas: two of which are a densely set lattice of split-palmette motifs; four of which are crude (pseudo?) inscriptions in *thuluth* script on a cross-hatched background; and a further two with a guilloche design, incorporating a central loop, flanked by scroll bands at the top and bottom. At the base is a band of geometric interlacing which is interrupted by eight whirling rosette motifs. The entire composition is enclosed by a continuous plain border, which also forms the roundels and loops.  \nThe profound economic crisis of the late Mamluk period had drastic consequences for the metalworking industry. Artisans had to resort to metals and techniques that were less costly to produce; these were fashioned from copper, sometimes tinned, and enhanced with incised designs that were highlighted with a black bituminous substance rather than the traditional gold and silver inlays that were in use in more prosperous times.","short_description":"By the AH late 9th / AD late 15th century, Mamluk metalwork had declined due to enormous economic pressures and the precious silver-and gold-inlaid brass vessels of the past had been replaced by much cheaper copper items, decorated only with incising and a black bitumous substance, as on this basin.","type":"Metalwork, cast copper","holder":"National Museums of Scotland (NMS).","dates":"Hegira late 9th century / AD late 15th century.","location":"Edinburgh, Scotland","dimensions":"Diameter (at base) 20 cm.","method_for_datation":"By the late 9th / late 15th century the Mamluk metalworking industry was in decline and, under enormous economic pressure, the dynasty was in a state of collapse. The precious, silver- and gold-inlaid brass vessels seen at the height of Mamluk power were replaced by much cheaper copper items with incised decoration inlaid with a black bituminous substance. Both the composition and the decorative themes used on this basin are typical of Mamluk metalwork during the decline of the dynasty and continuing into the early 10th / early 16th century.","method_for_provenance":"Pieces similar to this one are known to have been made in Egypt during the early 10th / early 16th century.","provenance":"Egypt.","obtention":"A gift from the Science and Art Department in 1858.","bibliography":"Curatola, G., (ed.) *Eredita dell’ Islam: Arte Islamica in Italia*, Venice, 1993, p.320, cat. no. 186 (for a similar basin).","linkcatalogs":"IAM_EG_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["calligraphy","inscription","pseudo inscriptions","Thuluth","water"],"materials":["Incised copper with bituminous inlay."]},"b5c0e36b-46e4-5ee6-b561-8e69e064e0cc":{"name":"Fountain","description":"Most Islamic gardens – including those in India – are very formal, with geometrically organised beds, paths, and irrigation channels. Fountains might stand in strategic places. The fountains that have been preserved are often made of marble, but there must have been many made of bronze, like this one, that were melted down later for other purposes.  \n  \nThe fountain’s elegant form, which looks mostly like a stylised, open lotus with everted, pointed petals, is found in various forms in architecture and decorative art from the Deccan. The demon-like head that spewed water into the fountain is of Hindu origin, like many other creatures found in Indo-Islamic art.","type":"Fountain","holder":"The David Collection","owner":"The David Collection","dates":"AH 1st half of 11 / AD 1st half of 17th century","location":"Copenhagen","dimensions":"Height: 45cm; Diameter: 91cm","place_of_production":"Deccan (India)","bibliography":"Folsach, K., “Paradise on earth: water and the Islamic garden” in John Kuhlmann Madsen et al. (eds), *Water of life: essays from a symposium held on the occasion of Peder Mortensen's 80th birthday*, Copenhagen: Forlaget Orbis, 2016: 193, fig. 7.  \n  \nFolsach, K., *Flora islamica: plantemotiver i islamisk kunst*, Copenhagen: David Collection, 2013: cat.no. 6.  \n  \nHaidar, N.M. and Sardar, M., *Sultans of Deccan India, 1500-1700: opulence and fantasy*, New York: Metropolitan Museum of Art, 2015: cat.no. 126.","copy_editor":"Zeina Al Amad","keywords":["bronze","Deccan","fountain","India","Mughals","water"],"materials":["Cast and engraved bronze"]},"b5eeb317-b1a2-5710-8891-111d70b464e6":{"name":"Ewer for Zamzam water","description":"Pear-shaped ewer with strap handle and serpentine spout. Brass lid and stopper for the spout are both screw-threaded, which allows them to be securely sealed in place. The body and neck engraved with floral pattern, with applied palmette bosses to each side with trefoil suspension loops (one is missing).","type":"Metalwork","holder":"National Museum in Kraków","initial_owner":"Muzeum Techniczno-Przemysłowe w Krakowie / Industrial Museum in Kraków","dates":"12th century Hegira / 18th century AD","location":"Kraków","dimensions":"Height:  32cm","method_for_datation":"Dating and origin based on stylistic grounds and similar pieces from other collections","method_for_provenance":"Material and technique are characteristic for Turkish metalwork production in this period","provenance":"Turkey","obtention":"Purchased by the Industrial Museum in Kraków from Markus Schwarz in 1900; collection taken over by NMK in 1950","author":"Monika Paś","keywords":["Islam","tombak","Zamzam"],"materials":["decoration cast and engraved","Gilded copper (tombak)","piece cast"]},"b5f4a237-c6ad-5a71-9fb4-721fcb4dd78f":{"name":"Door Knocker with Eight Lobes and Arabic Inscription on Backplate","short_description":"A door knocker, complete with domed and fluted rest, with a circular backplate irregularly notched around the circumference and bordered in false rivets in the form of infilled screw-heads. The central area of the disk is filled with an elaborate Arabic inscription on an arabesque ground with \"guilloche\" borders above and below, all overlaid with silver. The knocker itself is octofoil in form with eight bifurcated spokes whose ends curl over slightly. The surface is decorated with a vine scroll overlaid with silver. The center piece from which the knocker is suspended projects from a rectangular base attached to the plate. The front surface of this center piece is cut with three horizontal curved teeth. The lower areas of the knocker are significantly more worn than the rest of the object. The underside of the knocker is ground and polished.","type":"Metalwork","holder":"Saint Louis Art Museum","dates":"Hegira 678-688 / AD 1280–90","location":"Saint Louis","dimensions":"Height: 21.3cm, Width: 16.5cm, Depth: 4.4cm","method_for_datation":"The Arabic inscription on this door knocker states, “Our lord the Sultan, the King, al-Mansur Sayf al-Dunya wa al-Din Qala’un al-Salihi ordered the building of this blessed place.” Qala’un was a Mamluk ruler who constructed palaces and an important mausoleum complex in the capital, Cairo.","method_for_provenance":"Per inscription (see description)","provenance":"Cairo, Northern Africa, Egypt, Africa","obtention":"Museum Purchase, 1926","keywords":["Africa","brass","Cairo","Door","Egypt","Egyptian","inlay","Knocker","metalwork","Northern","silver"],"materials":["Brass with silver inlay"]},"b666eda8-3aa4-5e7c-a57e-1511705d233d":{"name":"Brass *Badiye* Bowl","description":"This is a broad-bodied, wide-mouthed bowl shaped by the hammering technique and decorated all over with inlaid gold and silver leaf. The rim is bordered with lotus, flowers and leaves. This type of ornamentation can also be seen in the book decorations of the Qaitbay Period. Immediately below this border are round medallions and rectangular cartouches with inscriptions adorned with knotted weave motifs. The lower part of the body is encircled by scalloped niches with floral decorations and a pattern of intertwined Ys and Ts (truncated meander). The composition adorning the bottom of the bowl, decorated with geometric interlaces formed by the arms of a multi-pointed star on a background of curved branches and *rumili* (stylised designs), is one of the most beautiful examples of its period. In Mamluk art similar compositions were used with the same skill in woodcarving, bookbinding and stonemasonry.  \n  \nThe composition, carving of the surface and placement of silver and gold leaf are typical of the Mosul school. Some of the craftsmen of Mosul origin, fleeing the Mongol invasion, migrated to other regions and worked under the Artuqids, the Ayubids of Syria and Egypt, and later the Mamluks. The Kaygbay bowl was probably made by a Mosul craftsman.  \n  \nThe inscriptions read: \"Our glorious Sultan al-Malik al-Ashraf, the victorious Kaidbay, may his victory be blessed\".","type":"Metalwork","holder":"Museum of Turkish and Islamic Arts","dates":"AH 874-895 / AD 1470–1490","location":"Istanbul","dimensions":"Height: 16.5cm, width: 36cm","provenance":"Mosul","materials":["brass"]},"b69b45bc-18ac-5427-86ca-9f760fc47793":{"name":"Qur'an box","description":"A rectangular Quran box on four feet with inlaid decoration which consist of inscriptions on a background with vegetal scrolls.","type":"Metalwork","holder":"Benaki Museum","dates":"19th century","location":"Athens","author":"Mina Moraitou"},"b6c1d309-d855-51b5-8b10-b87235701a9f":{"name":"Ewer (*ibrik*)","short_description":"The pyriform body of the ewer rests on a circular base; it has a curved spout and a volute-shaped handle whose upper part is attached to the cover surmounted by a pine cone. The  decoration, with large floral motifs on the belly and delicate scrollwork on the neck, is perfectly adapted to the shape. The handling of the ornamental motifs and certain shape-related details betray the influence of Western design, which marked the emergence of the so-called Turkish baroque.","type":"Metalwork","holder":"The National Museum of Art of Romania","dates":"Hegira 1187 – 1203 / AD 1773 – 1789","location":"Bucharest","dimensions":"Height: 34.5cm","method_for_datation":"*Tughra* marks of Sultan Abdülhamid I (1773-1789)","method_for_provenance":"*Tughra*; stylistic analysis","provenance":"Turkey","obtention":"Transferred from the Ministry of Finance in 1958.","bibliography":"Dunca, M., *Islamic Art at the National Museum of Art of Romania*, Bucharest: National Museum of Art of Romania, 2015: 64, no. 22.  \nKürkman, G., *Ottoman Silver Marks*, Istanbul: Mathusalem Publications, 1996.","author":"Mircea Dunca","keywords":["ewer"],"materials":["cast silver (handle)","engraved and chiselled","hammered","Silver"]},"b705e8a3-17fc-5217-8640-d86017b77c66":{"name":"Zamzam Water Bottle","description":"This simple, circular Zamzam bottle has been constructed from copper-alloy sheet and decorated with hammered and incised decoration. A very narrow cylindrical neck gives access to the body of the vessel, and a chain secured to its shoulder allows it to be carried. Every pilgrim to the Holy City of Makkah will make a point of drinking and collecting water from the sacred well of Zamzam, located near the Ka’bah within the precinct of the Holy Mosque at Makkah al Mukarramah. Its never ceasing flow is considered a miracle, and its properties are believed to aid good health and wellbeing. To this day, pilgrims to Makkah make a point of taking as much Zamzam water as they can back with them, not least to distribute it to loved ones and treasured friends in order to allow them to partake in the water's beneficial properties.","type":"Metal Bottle","holder":"Sharjah Heritage Museum / Sharjah Museums Authority","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah","provenance":"Sharjah Emirate","author":"Ulrike Al-Khamis"},"b81f4192-674c-5d84-b11c-20c80e67d288":{"name":"Box","short_description":"This Syrian bronze box is inlaid with silver and copper wire, displaying geometric patterns, interlaced six-pointed stars and Arabic calligraphy. Four legs ending in stylized paws elevate the casket to create suitable storage for a Qur’an.  \n  \nThe ninety-nine beautiful names of God known as *al-Asma al-Husna* cloak the box in the *maghrebi* calligraphy style. The names of God add a protective layer to the Qur’an chest.  \n  \nThis particular copper-alloy container resembles the Mamluk metalware from Syria in the 13th to 16th centuries with prominent features including silver-inlaying, palmettes and sumptuous geometric patterns. This type of Mamluk Revival art became increasingly popular in Egypt, Syria and Europe during the 19th century, at a time when the Syrian economy witnessed enhanced dependence on foreign merchants. As Damascene revivalist metalwork appealed to Europeans with Orientalist attitudes, local craftsmen attempted to emulate the older pieces.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 33cm, Width: 29cm, Height: 4cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and style.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and style.","provenance":"Syria","obtention":"Purchase","bibliography":"Baer, E., *Metalwork in medieval Islamic art*, Albany: Suny Press, 1983.  \nMilwright, M., \"Reviving the Past and Confronting the Present: Crafts in Syria and Egypt, c. 1875–1925\", *The Journal of Modern Craft*, 13 : 1(2020): 7–21.  \nMilwright, M. and Baboula, E., \"Damascene ‘Trench Art’: a note on the manufacture of Mamluk Revival metalwork in early 20th-century Syria\", *Levant*, 46 : 3(2014): 382–398.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Box","Inlaying","Mamluk Revival","metalwork","Ottoman","Syria"],"materials":["Bronze","inlaying","Silver"]},"b8456794-0ef9-5329-826d-f6575b715bad":{"name":"Incense Burner","short_description":"This is a hollow cast incense burner in the shape of a bird with silver inlay, perforated details and an opening on the top of the tail. Inlay and openwork can be found on the whole surface.  \nThe eyes are elevated and inlaid, a comb is placed at the back of the head and scrolls highlight the crest. Ornament compartments with spiralling tendrils surround the polygonal neck, followed by geometric medallions which are perforated at the throat. Below that is a compartment with pacing animals in front of spiralling tendrils, followed by a drop-shaped medallion with geometric scrolls. This design is repeated in every perforated medallion. The lower chest is highlighted by a cup-like medallion and blossoms. The top of the tail is open and forms a slope. A large inscription frames the inner half of the wings. It consists of elongated letters that end in small heads. A perforated medallion highlights the centre; a tendril-scroll ornaments the wingtips.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 6-8th century / AD 12th-14th century","location":"Bamberg","dimensions":"Height: 31.2cm, Width: 27.8cm, Weight: 2.2kg","method_for_datation":"Based on a stylistic analysis of its motifs and similiarities to objects of other collections.","provenance":"Persian world","obtention":"Purchased from Ali Ahmadi, Teheran 2013","bibliography":"Allan, J.W., *The Metalworking Industry in Iran in the early Islamic Period*, Oxford: Faculty of Oriental Studies, 1976: 310-315.","author":"Anita Mangalath","copy_editor":"Daniel de la Vega","keywords":["Afghanistan","animal","bird","bronze","Incense burner","Inlaid metalwork","inscription","Iran","Iranian world","metalwork","Persian world"],"materials":["Bronze","cast","engraved","inlaid","perforated"]},"b95967f4-71c0-5313-9654-d9eb492b2fb1":{"name":"Candlestick (*Mash ‘al*)","description":"This Safavid cylindrical candlestick is crafted from brass and adorned with intricate decorations. It features a blend of floral and geometric motifs alongside bands of *nasta’liq* script inscriptions. These are verses from Persian mystical poetry, particularly those by the renowned 14th-century poet Hafez Shirazi, including the famous line:  \nالا یا ایها الساقی ادر کأسا و ناولها","type":"Metalwork","holder":"Sheikh Faisal Bin Qassim Al Thani Museum","owner":"His Excellency Sheikh Faisal Bin Qassim Al Thani","dates":"Hegira 12th century / AD 18th century","location":"Doha, Qatar","dimensions":"Height: 28cm, diameter: 9cm, base diameter: 16cm","place_of_production":"Iran","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, techniques, style and analogies.","method_for_provenance":"Provenance was established in research-based comparison from an examination of material, techniques, style, iconography, inscription and analogies.","provenance":"Iran","obtention":"Purchased","author":"Mahmoud Saber","copy_editor":"Judy Harter","materials":["brass","embossing","Engraving","metal"]},"ba422441-e1c1-5256-9187-632e779470fd":{"name":"Firearm","description":"This firearm is a French model from 1822. Its total length measures 353 mm, with the barrel measuring 200 mm and the calibre 17.7 mm. All the embellishments, except the ring, are made of brass. It has a hollow-headed ramrod, and an elongated breech which extends to the pommel.","type":"Ironwork; weaponry","holder":"Palais de la Rose – Musée de l’Armée","dates":"19th century","location":"La Manouba, Tunis","author":"Bechir Yazidi","translator":"Flaminia Baldwin"},"ba9458ca-e9a9-5014-8d50-0e60dc64f20d":{"name":"Bath basin","description":"It is a round copper bath basin, with a floral motif at the center.","type":"Basin","holder":"Edirne Museum Directorate","dates":"AH 13th / AD 19th century","location":"Edirne","dimensions":"Diameter: 20.5cm","copy_editor":"Alvaro Miranda","keywords":["bassin","bath","Copper","Ottomans","water"],"materials":["copper","forged","incised"]},"baf45ab7-f9b5-5700-a897-9353a2be95f3":{"name":"Incense container","description":"Copper container adorned with embossed decoration. Vessels like this are usually used to store incense or jewelry.","type":"Metalwork, brass","holder":"The National Museum - Sultanate of Oman","dates":"Hegira 13th–14th/AD 19th–20th century","location":"Muscat, Sultanate of Oman","dimensions":"Height: 11cm, diameter: 9.5cm","provenance":"Northern Oman","author":"Noora Al Balushi","copy_editor":"Alvaro Miranda","materials":["brass"]},"bbad2081-7784-53a4-806b-ff1932fc5849":{"name":"Battle axe","short_description":"This axe is decorated with gilt Arabic letters on both sides. The inscription names the Ottoman Sultans until Muhammad III but only in a cursory and incomplete way. The hammer of the axe features the name of Sultan Muhammad III, suggesting that the weapon was made for a member of his Life Guards. The central medallion contains an appelation to Allah. We do not know how this axe entered the imperial collection.","type":"Armour","holder":"Kunsthistorisches Museum","dates":"Hegira late 10th – beginning of 11th century / AD late 16th century","location":"Vienna","dimensions":"Length: 83cm, Width: 27.3cm, Depth: 4.2cm","method_for_datation":"Inscription","method_for_provenance":"Inventories of the Imperial property","provenance":"Turkey?","obtention":"Unknown; long-standing Imperial property","bibliography":"Beaufort-Spontin, Christian and Pfaffenbichler, Matthias, *Meisterwerke der Hofjagd- und Rüstkammer*, Wien: Kunsthistorisches Museum Wien, 2005.  \nLeitner-Böchzelt, Susanne and Pfaffenbichler, Matthias (eds), *Die Welt des Orients. Kunst und Kultur des Islam*, Leoben: Stadtgemeinde Leoben, 2006.  \nThomas, Bruno, \"Aus der Waffensammlung in der Neuen Burg zu Wien: Orientalische Kostbarkeiten\", *Bustan*, 4: 5 (1963/64).","author":"Matthias Pfaffenbichler","copy_editor":"Liz Cooper","keywords":["arms","axe","epigraphic decoration","gilding","inscription","metalwork","Muhammad III","Ottoman army","ottoman empire","weapon"],"materials":["chiselled and fire gilt silver","fish skin","Iron","partially etched and fire gilded"]},"bbca80c7-2aa6-5a04-9263-603e9e9bc3ff":{"name":"Stirrup","short_description":"This pair of stirrups is made of engraved iron decorated with glass, jade and gilding. The long, wide, curved treads of these forged iron stirrups were particularly suited to the heel-less boots worn by the Ottomans. Their sharp edges served as substitute spurs.","type":"Armour","holder":"Kunsthistorisches Museum","dates":"Hegira late 11th – 12th century / AD late 17th – 18th century","location":"Vienna","dimensions":"Height: 16.5cm","method_for_datation":"Comparison with similar objects","method_for_provenance":"ILG / BOEHEIM, 1883  \nInventory of Furniture and Small Artefacts held at Ambras Castle, page 5","provenance":"Turkey?","obtention":"Collection of Ambras castle; documented since AD 1882","bibliography":"Scheicher, Elisabeth et al. (eds), *Kunsthistorisches Museum Sammlungen Schloss Ambras. Die Kunstkammer*, Innsbruck: Kunsthistorisches Museum, 1977.","author":"Veronika Sandbichler","copy_editor":"Liz Cooper","keywords":["equipment","horsemanship","iron","metalwork","military object","military wear","Ottoman army","ottoman empire"],"materials":["glass","Iron","jade"]},"bbeb5c8c-87db-5293-acee-f6b517d2244d":{"name":"Box","description":"Box made in Paris in Oriental style.","type":"Metalwork","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"Before 1867","location":"Vienna","provenance":"Paris","copy_editor":"Daniel de la Vega"},"bc013c86-0f26-5f80-ae32-0ad8f6ccb5e5":{"name":"Weighing scales pan.","description":"A shallow circular pan belonging to a set of weighing scales, decorated on the inside only with six six-petalled rosettes arranged below the rim at regular intervals. Below this is a band containing three cusped roundels with composite blazons that incorporate the motifs of napkin, pen case and cup set against a stylised scrolling background. The roundels alternate with three elongated cartouches containing inscriptions in *thuluth* script. These are arranged on a stylised scrolling background with split-palmette and leafy elements incorporated into it. The inscriptions give the honorific titles of an anonymous ruler. The roundels and cartouches are interconnected by roundels with plain borders, filled with six-petalled rosettes. Pointed and cusped split-palmette cartouches further highlight the blazon roundels above and below. In between the latter, six six-petalled rosettes appear placed at regular intervals. The centre of the pan is decorated with an interlaced rosette motif with a central, six-pointed star created from inverted trefoils. The remaining spaces within the interlacing are filled with individual trefoils and scrolling.","short_description":"The style of this scales pan, its layout and the presence of a composite blazon place this object within a late Mamluk context. It may have been made in Damascus or Cairo. Scales pans would have been essential tools in the markets of Mamluk cities throughout the empire.","type":"Metalwork, brass","holder":"National Museums of Scotland (NMS).","dates":"Hegira 9th century / AD 15th century.","location":"Edinburgh, Scotland","dimensions":"Diameter 23.19 cm.","method_for_datation":"The style of the incised decoration, its layout and the presence of a stylised composite blazon, place this object within the Mamluk period (9th / 15th century).","method_for_provenance":"The style of the incised decoration, its layout and the presence of a stylised, composite blazon, locate this object within a Mamluk context. The major metalworking workshops during the Mamluk period were in Damascus in Syria and Cairo in Egypt.","provenance":"Syria or Egypt.","obtention":"Purchased by NMS from the St Maurice Collection in 1884.","bibliography":"Enderlein, V., (ed.) *Museum of Islamic Art: State Museums of Berlin Prussian Cultural Property,* exhibition catalogue, Berlin, 2003, pp.87–8 (for a related scale pan).","linkcatalogs":"IAM_EG_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["blazon","calligraphy","floral decoration","inscription","measuring instrument","Thuluth"],"materials":["Incised brass."]},"bc56c1b8-5b80-5a3a-abc0-afb363057dab":{"name":"Flask","description":"A rectangular-shaped flask with rounded shoulders, featuring a central round mouth with protrusions and a lid attached to a metal ring. On one side is a short, slightly upturned spout. Two metal rings hold a leather strap for easy carrying. The body is decorated with horizontal incised lines.","type":"Flask","holder":"Sheikh Faisal Bin Qassim Al Thani Museum FBQ Museum","dates":"AH 13th century / AD 19th century","location":"Ash-Shahaniyah, Qatar","dimensions":"Width: 19.5cm, Length: 29cm","provenance":"Hijaz","copy_editor":"Zeina Al Amad","keywords":["container","leather","water","wood"],"materials":["casting and hammering","copper"]},"bc71fd0a-a9bf-5d5a-881e-ff89569de8a9":{"name":"Small pot","description":"This small pot is decorated on its base and its neck by a braided band with a red copper outline. Rectangular cartouches on the body, also outlined in red copper, contain silver Arabic inscriptions reading \"hard work brings rewards\" and \"patience wins the race\".","type":"Yellow and gold copper","holder":"Musée Public National des Arts et Traditions Populaires","dates":"19th century","location":"Algiers","translator":"Flaminia Baldwin"},"bc9be567-69d3-578d-8754-ec0d34770598":{"name":"Incense Burner","short_description":"This incense burner is one of two that both belong to a group of similar objects. Within the group a high degree of standardisation is apparent, as the vessels show close similarities. However, two major decorative schemes can be determined. This burner exemplifies one of these schemes, which is a sequence of single split palmette motifs. Other examples of burners with this decoration scheme are held in the Herat National Museum and in a private collection published by Haase et al.  \nThe artefact is baluster-shaped with a splayed foot. The body of the burner is broadly made up of three different sections. The lowest part is solid with an engraved decoration that ends just above the foot. The middle part consists of openwork which shows a symmetrical design of scrolled leaves around a palmette. This is alternated with a circular ornament, showing the Solomon´s knot. The whole design is mirrored on a horizontal axis. The upper part is solid again, showing an inscription and a pearl-ribbon around the mouth of the burner. Little holes are punched through the inscription, thus indicating a different use at a later time, probably for hanging the vessel somewhere.  \nThe interpretation as an incense burner is supported by an example of the Linden-Museum Stuttgard, where a similar artefact is stored. There, a small bowl in the middle of the burner is preserved in which the incense was supposedly placed.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 4-5th century / AD 10-11th century","location":"Bamberg","dimensions":"Height: 16.2cm, max. Diameter: 22cm, Diameter mouth: 12.5cm","method_for_datation":"By stylistic analysis and through comparison","provenance":"Middle Asia","obtention":"Purchased from Ibrahimi, Hamburg in 1987","bibliography":"Franke, U. and Müller-Wiener, M. (eds), *Herat Through Time. The Collections of the Herat Museum and Archive. Ancient Herat Vol. 3*, Berlin: Staatliche Museen zu Berlin - Preußischer Kulturbesitz and Ancient Herat Project, 2016: 99.  \nGladiß, A. von, \"Islamische Metallarbeiten des 9-15. Jahrhunderts\", in Margareta Pavaloi and Johannes Kalter Usbekistan (eds), *Erben der Seidenstraße*, Stuttgart: Mayer, 1995: 123-137.  \nHaase, C.-P. et al. (eds), *Morgenländische Pracht: Islamische Kunst aus deutschem Privatbesitz, Ausstellung im Museum für Kunst und Gewerbe Hamburg, 18. Juni - 22. August 1993*, Bremen: Ed. Temmen, 1993: 158-159.","author":"Tamara Haller","copy_editor":"Daniel de la Vega","keywords":["incenseburner","metalwork","open work"],"materials":["Bronze","cast","engraved and probably perforated"]},"be60fc30-4879-59b7-9f1b-3a7a358298d0":{"name":"Jug and basin set (*aftafa-layan*)","description":"The *aftafa-layan* is a jug and basin set with a separating lid used for washing, usually made of copper and richly decorated. It was widely distributed in the Near and Middle East and used during large feasts. The lid was used as an esthetic cover for the basin. It is decorated with inscriptions and floral elements. One or two lines from Hafez’s ghazal poem were written on the upper border of *aftafa*. The edge borders of the *layan* are decorated with inscriptions. The inscription in the cartouches on the border read as follows:  \n\"It's time to enjoy the flowers and life.  \nSagi! Give the water of life.  \nIn the meadow, wine and jam \\[bowl\\] are pleasant.  \nAlong with crimson tulips.  \nWasted youth is a pity, it can't be considered a life.\"","type":"Tableware","holder":"Azerbaijan National Carpet Museum","dates":"Hegira 13th / AD 19th century","location":"Baku","dimensions":"Height: 27cm, diametre: 18cm","place_of_production":"Azerbaijan","method_for_datation":"By stylistic and comparative analyses with related material.","obtention":"Purchased in 1973","author":"Rustam Afandiyev","keywords":["aftafa-layan","Azerbaijan","Basin","Copper","Jug","Tableware"],"materials":["copper","engraved.","hammered"]},"bf3bbec5-16fa-5c53-92d5-f939cdb22f28":{"name":"Water-Scoop","description":"This is the only precisely dated Ottoman silver object of the AH 10th / AD 16th century. The exterior of the bowl bears an inscription in a rounded script with careful pointing, engraved and inlaid with a black composition. The inscription begins with the *basmalah* followed by a quote from the surah *al-Anbiya’* (XXI), verse 30, ‘and \\[we made\\] from water every living thing’, and the date, AH 985, in figures.  \n  \nThe tubular handle, with a band of semi-precious stones set in collar-mounts, is constructed in sections and terminates in a knob with a ring set in a polyhedron.","type":"Metalwork","holder":"Nasser D. Khalili Collection of Islamic Art","owner":"Nasser D. Khalili Collection of Islamic Art","dates":"AH 985 / AD 1577–8","location":"London","dimensions":"28.6cm  x 16.6cm","place_of_production":"Türkiye","method_for_datation":"Dated AH 985 (AD 1577–8)","bibliography":"Petsopoulos, Y., *Tulips, Arabesques and Turbans. Decorative Arts from the Ottoman Empire*, London: Alexandria Press,1882: n.23; pp.44, 54.  \n  \nRogers, J.M., *Empire of the Sultans. Ottoman Art from the Khalili Collection, exhibition catalogue*, London: Alexandria VA, 2002: n.25, pp.185, 187.  \n  \nRogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.346; pp. 292–3.  \n  \nSpink, M., *Brasses, Bronze and Silver of the Islamic Lands, Nasser D. Khalili Collection of Islamic Art*, volume XI, part three, London: The Nour Foundation and Azimuth Editions, London, 2022: cat. 592; pp. 924-5.","author":"Qaisra Khan","keywords":["metalwork","Ottomans","water","water-scoop"],"materials":["inlay in black","semi-precious stones","Silver sheet","with traces of spinning and gilding"]},"bff32db0-47a0-5fc9-88e2-12d073ff5354":{"name":"Ewer and Basin Set","description":"This set is comprised of three elements: an ewer, a basin, and a lid strainer. They are made of cast brass, and the surface is coated with nickel, thereby creating a gold and silver appearance.  \nThe ewer has a pear-shaped body, a slender neck with ring moulding, a curved spout and a handle, and is topped with a domed lid bearing a tall finial. All surfaces of the ewer are decorated with ornamental bands, engraved with leaves and stylised floral motifs.  \nThe circular basin is deep, with a flaring rim and a perforated decorative edge. It is ornamented in the same manner as the ewer. The lid is perforated and features a raised circular central section, which serves as a stand for the ewer.  \nThese types of sets were very popular and widely used for ritual ablutions, as well as for washing hands between meals. Some examples were distinguished by the refinement of their decoration or the preciousness of the material, and thus served not only a practical but also a decorative function in everyday life.","type":"Metalwork","holder":"Museum of Applied Art","owner":"Museum of Applied Art, Belgrade","dates":"AH early 14th century / AD early 20th century","location":"Belgrade","dimensions":"Ewer height: 35cm; Basin diameter: 32cm","method_for_datation":"By stylistic and comparative analysis with related material.","method_for_provenance":"Research and documentary evidence.","obtention":"Purchased in 1953.","bibliography":"Karamehmedović, M. A., *Umjetnička obrada metala*, Sarajevo: Veselin Masleša, 1980: 447.","author":"Mila Gajić","copy_editor":"Zeina Al Amad","keywords":["brass","ewer and basin","metalwork"],"materials":["brass","Casting","Engraving","nickel"]},"c030f281-39a4-5826-98d8-b68d6a9cb3a7":{"name":"Basin of al-Malik an Nāsir","description":"The large basin is circular in section and rests on a flat base. The walls taper towards the flared rim with projecting lips. The interior and exterior surfaces are entirely incised and feature thuluth inscriptions on a background decorated with vegetal and floral elements, including peonia, leaves, and birds in flight. Three large polylobed medallions decorated with peonies and rosettes interrupt the thuluth inscription.  \nThe basin, along with other Islamic objects, entered museum collections thanks to King Ferdinand I of Bourbon's purchase in 1817 of the eighteenth-century collection of Cardinal Stefano Borgia (1731-1804).  \nThanks to his position as secretary of the Congregation for the Propagation of the Faith, Cardinal Borgia collected a diverse array of artistic material through Catholic missions around the world, evidence of distant and exotic cultures, which reflects his erudite and encyclopaedic interest in the history of civilizations, of which this collection of Islamic objects is a part.  \n  \nInscriptions in thuluth:  \nOuter wall: Glory to our lord Sultan al-Malik/al-Nasir, helper of the world and religion, Muhammad ibn/al-Malik al-Mansur ibn \\[sic\\] Qalawun al-Salihi  \n  \nInner border: Glory to our lord Sultan al-Malik al-Na-/sir, helper of the world and religion, slayer of unbelievers and poly/theists, Muhammad ibn Qalwun al-Salihi, may his victories be glorious","type":"Basin","holder":"Museo e Real Bosco di Capodimonte","initial_owner":"Collezione Borgia (until 1817)","dates":"AH 709 - 741 / AD 1310-1341","location":"Naples","dimensions":"Height: 21,6cm, diameter top:  50,5cm, diameter base:39 cm","place_of_production":"Syria or Egypt","obtention":"Sold to the museum in 1817","bibliography":"Scerrato, U., *Arte islamica a Napoli: Opere delle raccolte pubbliche napoletane* , Naples: Istituto Universitario Orientale, 1967.  \n  \nMartino, L., *La collezione Borgia. Curiosità e tesori da ogni parte del mondo*, Milan: Istituto della Enciclopedia Italiana, 2001.  \n  \n*Islam e Firenze. Arte e collezionismo dai Medici al Novecento*, Florence: Giunti, 2018.  \n  \nVanoli, A., *Acqua, Islam e arte. Goccia a goccia dal cielo cade la vita*, Milan: Silvana Editoriale, 2019.","keywords":["Basin","collezione borgia","Museo e Real Bosco di Capodimonte"],"materials":["Brass inlaid with silver and gold"]},"c045f1b5-fdc5-50a6-bd7c-b5339432531f":{"name":"Candlestick with dragons.","description":"A candlestick in three parts, with a six-sided candle cup in the centre of four dragons whose tails end in splayed feet. The four dragons are joined at the point where the candlestick's three parts come together. Their mouths are open and their teeth have been coloured with red paint. Their bodies are curved, their lower parts take the form of palmettes, and their feet have been stylised into splayed 'camel's' feet. The dragons have pointed ears, almond-shaped eyes, and their bodies are covered with a design resembling snakes' scales; they are poised as if to bite the candle cup. The candle cup has six sides whose surfaces are decorated with arabesque palmettes.","short_description":"This candlestick is dated to the Emirates period (AH 8th–9th / AD 14th–15thcenturies) based on its decoration and stylistic features. Dragon motifs are quite common in Anatolian Seljuq figurative decoration and are used as symbols of light, power and might in Islamic art.","type":"Metalwork, decoration object","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira 8th–9th centuries / AD 14th –15th centuries.","location":"Sultanahmet, Istanbul.","dimensions":"Height 22.5 cm.","method_for_datation":"The candlestick is dated by its style and decoration to the 8th–9th / 14th –15th centuries.","obtention":"Presented to the Museum in 1985 by Sebahattin Konakçı.","bibliography":"ölçer, N. *et al*, *Türk ve Islam Eserleri Müzesi*, Istanbul, 2002, p.170.  \n  \nRoxburgh, D. J. (ed), *Turks: A Journey of a Thousand Years, 600–1600*, London, 2005, p.396.","linkcatalogs":"IAM_TR_EN_001","author":"Alev Özay","translator":"Barry Wood","translation_copy_editor":"Mandi Gomez","keywords":["brass","Candlestick","dragon","imaginary animal","zoomorphic imagery"],"materials":["Cast brass."]},"c120b65a-cd13-5c60-a28b-463b99dc6f57":{"name":"Three","alternate_name":"Water pipe; Argyle; Shisha; Nargile","description":"These water pipes, or *araghil* (sing. *arghile*), is made of translucent glass painted with floral patterns in pale colours. The *araghil* have three main parts: first, you have a bowl for the coals sitting on top of a metal plate. Under this is the body of the *arghile*, which can come in a variety of shapes and sizes, and consists of a gasket and water jar. Connected to the main body is a pipe for smoking. The *arghile* originated in Persia and later became popular in 17th century Turkey, used by the Ottoman elite as a status symbol. The water pipe became hugely popular, and in 1841 even sparked a diplomatic crisis between France and the Ottoman Empire. However, although it remains popular in the modern Middle East, it was largely replaced by cigarettes in the 20th century. The *arghile* woks by vaporizing a flavoured tobacco called *shisha*, which is passed through water and then inhaled. Depending on their placement, the coals can either be used to boil the water and thus create water vapour, or to produce smoke by burning the tobacco. These *araghil* were used by Ottoman officials in 19th century Lebanon.","type":"Glasswork; smoking instrument","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"c208a6b2-a502-5efb-893c-b30b6c17f05c":{"name":"Candlestick","short_description":"This cast candlestick is one of a large group of more than 50 known similar pieces which show a wide variety of figural decoration and a mixing of styles which characterizes the art of the Seljuqs of Rum. The decoration on this specimen consists of inscriptions, arabesques and medallions enclosing various fighting birds and figures playing the harp, drinking and revelling, and also a vestigial allegorical figure representing the personification of a month.","type":"Candlestick, metalwork; brass inlaid, silver","holder":"Benaki Museum","dates":"Hegira 7th century / AD second half 13th century","location":"Athens","provenance":"Turkey","keywords":["Candlestick","figural motifs","kufic","metalwork","Rum Seljuq"],"materials":["Brass inlaid with silver"]},"c2a299db-8a3b-54b1-a698-fc2c5173928e":{"name":"Battle axe of a member of the Sultan's Guard","short_description":"This axe belonged to a member of the Life Guards of Sultan Muhammad ibn Qaytbay from the Caucasian-Burji Mamluks. The Mamluks ruled Egypt and Syria from AD 1250 until their empire fell to the Ottomans in AD 1517, when a wealth of Mamluk booty was removed to Istanbul.","type":"Armour","holder":"Kunsthistorisches Museum","dates":"Hegira 900–904 / AD 1495–1499","location":"Vienna","dimensions":"Length: 99.5cm, Width: 20.5cm","method_for_datation":"Inscription","method_for_provenance":"Inventories of the Imperial property","provenance":"Egypt?","obtention":"Via Istanbul; long-standing Imperial property","bibliography":"Pfaffenbichler, Matthias and Sternthal, Barbara (eds), *Kreuzritter. Pilger. Krieger. Abenteurer*, Schallaburg: Schallaburg Kulturbetriebsgesellschaft, 2007.  \nThomas, Bruno and Gamber, Ortwin, *Katalog der Leibrüstkammer I. Teil. Der Zeitraum von 500 bis 1530*, Wien: Verlag Anton Schroll & Co, 1976.  \nThomas, Bruno, \"Aus der Waffensammlung in der Neuen Burg zu Wien: Orientalische Kostbarkeiten\", *Bustan*, 4 : 5 (1963/64).","author":"Matthias Pfaffenbichler","copy_editor":"Liz Cooper","keywords":["arms","axe","Burji","Mamluck","Mamluk arms","Mamluk army","Muhammad ibn Qaytbay","weapon"],"materials":["Gold damascening","heat-blued","Iron"]},"c2e80ac9-c3fb-51a3-8cd2-d3cc5c1a3b20":{"name":"Tray stand","description":"This Mamluk bronze tray stand exemplifies the iconic shape, size and ornamentation characteristic of Mamluk metalwork, with a notable influence from China in the shape of the tray. Originally serving as a portable support for a food tray, it would have been accompanied by multiple table stands.  \nAdorned with intricate *thuluth* inscriptions, geometric and floral motifs, and interrupted by cartouches, this stand is a testament to the exquisite craftsmanship of the Mamluk artisans. Distinctive Arabic inscriptions grace the upper and lower parts and the exposed section of the lower rim. Epigraphic analysis reveals that these inscriptions identity of the owner – a high-ranking official (Amir) in the Mamluk court hierarchy who belonged to the second-highest rank. The display of titles underscores the owner’s esteemed position and societal status. One of the inscriptions, “*Al-maqarr al-‘ali al-mawlawi al-amiri al-kabiri al-‘alimi al-‘adili al-ghazi al-mujahidi al-maliki al-nasiri*”, suggests that the owner is a follower of Al Sultan Al-Nasir. While many Mamluk sultans held the title Al-Nasir, it is unclear which one is referred to here. However, the decoration style indicates that it likely belongs to the period of Al-Nasir Muhammad bin Qalawun (1258–1341). Crafted from bronze, this tray stand displays intricate detail achieved through engraving and embossing. The *thuluth* inscriptions, geometric and floral motifs, and cartouches are meticulously executed, reflecting the skill and artistry of Mamluk metalworkers in Egypt during the 14th century.","type":"Metalwork","holder":"Sheikh Faisal Bin Qassim Al Thani Museum","owner":"His Excellency Sheikh Faisal Bin Qassim Al Thani","dates":"Hegira 8th century / AD 14th century","location":"Doha, Qatar","dimensions":"Height: 25.5cm, diameter 25cm, base diameter: 25cm","place_of_production":"Egypt","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, techniques, style, inscription and analogies.","method_for_provenance":"Provenance was established in research-based comparison from an examination of material, techniques, style and analogies.","provenance":"Egypt","obtention":"Purchased","author":"Mahmoud Saber","copy_editor":"Judy Harter","keywords":["Al Sultan Al-Nasir","Al-Nasir Muhammad bin Qalawun","bronze","China","chinese","Egypt","Mamaluk"],"materials":["Bronze","embossing","Engraving"]},"c364d9d2-8f9b-5a9c-804c-860fbd603912":{"name":"Gold- and silver-inlaid brass bowl","short_description":"This elegant bowl exemplifies the high-quality metalwork produced in Iraq and Iran after the establishment of Mongol rule. It shows six roundels showing crowned horse riders, their style influenced by contemporary miniature painting. These alternate with large cartouches which appear to show pseudo-inscriptions in a *thuluth* style.","type":"Metalwork","holder":"Sharjah Museum of Islamic Civilisation","dates":"Hegira 8th century / AD 14th century","location":"Sharjah","provenance":"Western Iran","keywords":["bowl","calligraphy","gold","human representation","inlay","metalwork","pseudo inscriptions","silver","Thuluth"]},"c3846b74-8446-5391-a0bc-02dca834176f":{"name":"Water-basin.","description":"A brass water-basin originally inlayed with silver and divided into six sections with the aid of six roundels. Decorated with a band of bold calligraphic inscription, the text reads: 'This is one of the things made for his highness, the lordly, the kingly, the learned, the treasure house of excellence, the just, the conqueror, the warrior, the defender, the protector of frontiers, the fortified by God, the victorious, the planner, the well-ordered, the masterful, the complete, supporter of the khan, the Seal Bearer, the king the Nassiri.' The inscription indicates an official of high rank in charge of the Sultan Al-Malik Al-Nasir's correspondence and other administrative responsibilities. Al-Malik Al-Nasir (who ruled during three phases between AH 692 and 740 / AD 1293 and 1340) commissioned the basin. Three of the roundels enclose the design of a blazon. The other three roundels have a symmetrical composition of six birds: two facing each other, two looking away from each other; and two moving away from each other but looking back at each other. The compositions of these roundels with their birds or waterfowl are a distinctive feature of Egyptian Mamluk metalwork, distinguishing it from contemporary Syrian, Iraqi and Iranian work.","short_description":"Vessels like this one were quite expensive. The script round the basin is in the *thuluth* style, and describes the titles of the high-ranking Mamluk official who owned it. The blazon incised in the roundels that divide the text indicates that the owner was in charge of the sultan’s correspondence.","type":"Metalwork, brass, silver","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums","owner":"on temporary display at Glasgow Central Mosque.","dates":"Hegira 8th century / AD 14th century.","location":"Glasgow, Scotland","dimensions":"Height 15 cm, diameter 30 cm.","method_for_datation":"Artistic analysis together with identification of the 8th- / 14th-century Mamluk blazon and titles.","method_for_provenance":"Identification of the 8th- / 14th-century Mamluk blazon and titles.","provenance":"Egypt.","obtention":"Purchased by the Museum in 1907.","bibliography":"Allan, J. W., *Islamic Inscriptions*, Edinburgh, 1998.  \n  \nBlair, S. S., and Bloom, J. M., *The Art and Architecture of Islam 1250–1800*, Yale University Press, 1994.  \n  \nWard, R., *Islamic Metalwork*, London, 1993.","linkcatalogs":"IAM_EG_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["calligraphy","coat of arms","patronage","Ruling classes","water"],"materials":["beaten and inlayed with silver.","brass"]},"c3bdb147-116b-56ed-8b27-f2a31d87f80f":{"name":"Putto with a winged helmet blowing a horn","alternate_name":"Horn-blowing putto / Putto with crumhorn","description":"The small sculpture was assumedly used as a table decoration in the Augsburg Fugger Palace, the residence of the Fugger family. At the time, wealthy merchants may have felt the influence of Roman mythology and this reason chosen as their symbol the God of Commerce, Travel and Theft, Mercury, who is iconographically reflected by the winged helmet worn by the putto. The aeruginous black bronze figure has been placed in a standing, forward-stepping frontal position on a plinth. The nude body is partly covered by a fluttering cape. With his head raised and chubby cheeks, the Putto is about to sound the crumhorn and to recount the history of the Fugger family to his audience. The impression of effort and determination comes from the gesture of his left arm stretched out with a clenched fist. The front of the helmet has been decorated with the motif of a fire-spitting dragon, which might well represent a symbol of defence.","short_description":"The small bronze figure of a nude Putto sounding a crumhorn and wearing a winged helmet can be regarded as an allusion to Mercury the antique God of Commerce and Travel with the helmet symbolising the world of wealthy merchants.","type":"Small sculpture","holder":"City Museum","initial_owner":"House of Fugger, Augsburg","dates":"c. 1627/30 (possibly later)","location":"Weilheim in Oberbayern, Upper Bavaria","dimensions":"Height 19 cm","place_of_production":"Augsburg","method_for_datation":"Through stylistic analysis of Petel’s work.","obtention":"From art dealers in Munich.","bibliography":"Helm, R., “Putto mit Krummhorn”, *Kunst und Handwerk in Weilheim i.OB*, Stadt Weilheim (City of Weilheim (ed.)), Weilheim i. OB 2000, pp. 78–82.","workshop":"“Weilheim School of sculptors” (with H. Krumpper, H. Degler, C. Angermair, B. Steinle, P. Dirr); an important work of the Early Baroque in Weilheim in Oberbayern because of the pathos displayed by the figures.","author":"Reinhardt Helm","translator":"Holger Rhensius","translation_copy_editor":"Mandi Gomez","keywords":["bronze figure","figural decoration"],"materials":["black patina","Bronze"]},"c42ca69a-f7fd-5764-8954-9f2bbd201575":{"name":"Ewer (*Aftaba*)","description":"A ewer, adorned with vegetal motifs and geometric designs, composed of a base, body, neck, mouth, lid, handle and spout. The base is circular, with a lobed contour and ornamented with arrowheads using the chasing technique. The body is spherical and lobed. Each lobe is ornamented with a meandering vegetal branch, while the field is adorned with rosettes of four petals in varying sizes. The neck is short, circular and lobed, beginning with a plain metallic band, followed by a frieze of arrowheads. The circular mouth is covered with a hemispherical helmet-shaped lid, topped by a small spherical knob entirely undecorated. The spout is cylindrical, beveled, and tapering towards the tip, narrowing upwards, with a central protrusion. It is adorned with longitudinal framed motifs of arrowheads, beginning with a row of broken arches. The handle is curved, extending from the middle of the body and ending in a lotus flower, attached to the lid by hinges fixed with circular pins.","type":"Ewer","holder":"Sheikh Faisal Bin Qassim Al Thani Museum FBQ Museum","dates":"AH 12th–13th century / AD 18th–19th century","location":"Ash-Shahaniyah, Qatar","dimensions":"Length: 28.5cm, width: 34cm, height: 24cm, diameter: 61cm","provenance":"Lahore (India)","copy_editor":"Zeina Al Amad","keywords":["ewer","metal","water"],"materials":["and incising","Engraving","hammering","metal","mold casting"]},"c997acba-011d-55ce-be06-0eaa59759a9a":{"name":"Bowl (*badiye*)","short_description":"During the Safavid period this type of vessel was called *badiye*, an Arabic word used in Persian poetry as early as the thirteenth century to designate wine bowls. The bowl is engraved with horizontal decorative bands, the main register featuring a typically Safavid continuous design of half-palmettes, scrolling vines, and floral motifs. A Persian inscription followed by the name of the owner, Mirza Haydar ibn Khwaja Sultani, is engraved in five cartouches below the rim: ‘O master of the bowl may you forget your sorrow / May the object of your heart’s aspiration for ever be in your fold / As long as the bowl of Heaven and the Sun globe remain / Every sip you taste from this bowl, may it bring you health’ (English version by Assadullah Souren Melikian-Chirvani, in *Islamic Metalwork from the Iranian World, 8-18th centuries*, London, 1982: 304, no. 134.).The text can be read, literally, as a health wish addressed to the owner of the bowl; at the same time, certain words related to the Sufi technical vocabulary highlight underlying mystical meanings recurrent in Persian poetry.","type":"Metalwork","holder":"The National Museum of Art of Romania","dates":"Hegira late 10th – early 11th century / AD late 16th – first quarter of the 17th century","location":"Bucharest","dimensions":"Height: 15.4cm, Diameter (of mouth): 25.5cm","method_for_datation":"Stylistic analysis, inscription","method_for_provenance":"Stylistic analysis","provenance":"Iran","obtention":"Transferred from the Ministry of Finance in 1958.","bibliography":"Dunca, M., *Scrierea în arta islamică*, Bucharest: National Museum of Art of Romania, 2000: 46, cat. no. 16.  \nMelikian-Chirvani, A.S., *Islamic Metalwork from the Iranian World, 8-18th centuries*, London: Victoria and Albert Museum, 1982.","author":"Mircea Dunca","keywords":["bowl"],"materials":["engraved decoration","Tinned copper"]},"ca7280db-3428-5b5d-8d37-2c4fe8ed2c6b":{"name":"Ewer","short_description":"For centuries, romantic myths have surrounded the ewer. The name Ashkdan translates to “tear-container”, alluding to use of the vessel. According to Persian folklore, women would bottle-up tears shed for their husbands during long separations. Upon their return, husbands could measure their love. Shia mourning rituals also emphasized tear-preservation in commemoration of martyrs that were believed to have curable powers.  \nThis ewer with a striking swan-neck and tear-shaped opening depicts humans, birds, and scrolls of ellipses typical for the Safavid dynasty (16th – 18th century). Although the tear-legends have endured over time, scents rather than tears might flow within the vials. Persians to this day pour perfume or rose water from vessels with long necks onto hands and clothing.","type":"Domestic tool","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"17th century","location":"Shahaniya","dimensions":"Length: 43cm, Width: 30cm","method_for_datation":"The date and origin were established in a research-based comparison of metal work, examining the engraved patterns including human figures and birds.","method_for_provenance":"The date and origin were established in a research-based comparison of metal work, examining the engraved patterns including human figures and birds.","provenance":"Iran","obtention":"Purchase","bibliography":"Melikian‐Shirvani, A. S., \"Safavid Metalwork: A Study in Continuity\", *Iranian Studies*, 7 : 3-4 (1974): 543-585.  \nYamanaka, Y., \"The Tear-Bottle Quest: European Perception of the Biblical Orient and Iranian Shiite Ritual\", in Regina F. Bendix and Dorothy Noyes (eds), *Terra Ridens - Terra Narrans*, Dortmund: Verlag für Orientkunde, 2018.","author":"Sarah Schroeder","copy_editor":"Valerie Pulsifer","keywords":["ewer","Iran","metalwork","mythology","Ritual","Tear"],"materials":["copper","Engraving"]},"ca942ff7-606f-5ad2-bbe5-0716cf554458":{"name":"Prick spur.","description":"Originally one of a pair of prick spurs, this spur would have been fixed to footwear, to the sides of the ankle, with the prick pointing out at the back of the heel. A horse-rider (cavalryman, horse-archer, or knight) would use it to prick his horse when commanding it to move or run. The spur has straight sides with two holes at the end of each for the straps that tie around the ankles. These two straight sides meet in the middle to form an elliptical arch. Attached to the point where the two sides meet is a section that has a conical shaped tip (the prick). The spur's straight sides indicate that it could not have been made after the AH 6th century / AD 12th century, while the two strap-holes on the end of the sides of the spur show that this item was not likely to have been made before 1100.","short_description":"Every Crusader knight, cavalryman and horse-archer would have had a pair of prick spurs like these fixed onto the heel of their footwear. The European Crusader would use the prick to coax his horse into moving or picking up speed.","type":"Metalwork, iron, arms, armours","holder":"Burrell Collection, Glasgow Museums.","dates":"About hegira 6th century / AD 12th century.","location":"Glasgow, Scotland","dimensions":"Length 15.2 cm, width 8 cm.","method_for_datation":"Artistic analysis, and from extensive research carried out into the manufacture of European arms and armour. The spur's straight sides indicate that it could not have been made after the 12th century, while the strap-holes on the end of the sides of the spur show that this item was not likely to have been made before 1100 AD.","provenance":"Northern Europe (Germany or Austria).","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Nicolle, D., *The Crusades*, Oxford, 1988.","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["Crusader","military object","pilgrimage"],"materials":["Iron."]},"caae2a0b-075e-51cd-814c-613c74cb74fb":{"name":"Bowl","short_description":"A mounted archer forms the central motif on this large bowl. He leans back shooting a lion that falls headfirst. Underneath the galloping horse runs a hare in opposite direction. The drawing shows a captivating dynamic; the legs of the rider are shown in profile, his upper body frontally, as he is turning back, and his head in three-quarter profile. Also the movement of his hands is drawn very lively and shows the moment after releasing the arrow. The equipment of the archer and his bowl suggest a royal background. The hunting rider is a common motif in pre-Islamic Iranian art. Sasanian dishes frequently show the motif of the mounted ruler, hunting all kinds of wild animals.  \nThe spaces are filled with floral and vegetal patterns. The archer wears an elaborate costume and turban and his horse is adorned with a fine harness which points to a royal background. The central motif is surrounded by a row of palmette scrolls, followed by a band with a benedictory inscription in floriated *kufic* ending directly under the rim. The entire drawing is executed in minute detail.  \nThe mainly geometric design of the outer surface stands in contrast to the elaborate drawing inside. The main motif here is the rather sober drawing of a six-pointed star. The spandrels are filled with lotus buds surrounded by palmette scrolls. Also here, an inscription band with blessings can be seen under the rim. In opposition to the inscription on the inside, this one is not ornamented at all and looks unfinished.  \nDespite its large size and heavy weight of 3,6 kg, the bowl appears lightweight and graceful due to its delicate and complex ornamentation that stands in contrast to the unpretentious hemispherical form.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 5th century / AD 11th century","location":"Bamberg","dimensions":"Height: 174mm, Diameter: 429mm","method_for_datation":"Engraved figural motifs on hemispherical bowls are known from Khurasan. The calligraphic style also points to the 11th century.","method_for_provenance":"Large engraved bowls with similar motifs are known from the Eastern Iranian World such as MTW 924 and MTW 925 in the Khalili Collection. Especially the treatment of the outer surface shows strong similarities.","provenance":"Ghazni","obtention":"Purchased in 1984","bibliography":"Clemente-Ruiz, A., *Arts de l'islam : chefs-d'oeuvre de la collection Khalili*, Institut du monde arabe, Paris: Hazan, 2010: 42-43 MTW 924 & MTW 925.  \nDahncke, Monika, *Early Islamic Bronzes in the Bumiller Collection*, Georgeville: Panicale, 1988: 26-27.","author":"Verena Daiber","copy_editor":"Daniel de la Vega","keywords":["large bowl","metalwork","mounted archer"],"materials":["Cast metal with engraved decoration"]},"cbadcbe0-3272-59a1-a3b3-967703ee5993":{"name":"Alms Vessel","short_description":"Known as the Prophet’s *mudd* vessel, this bronze pot would collect and measure the alms given as charity by the people of Medina in Saudi Arabia. The cylindrical jar features the *basmala* or Muslim invocation and Qur’anic verses in *thuluth* and *naskh* script.  \n  \nCommissioned by the Naqib al-Ashraf, Mohamed Jamal Allah, the pot represents a replica of the original *mudd* vessel employed by Prophet Muhammad (PBUH) to gather and distribute charity money. Inhabitants of Saudi Arabia would quantify money using the Abbasid Islamic economic measure called *mudd*.  \n  \nWith *zakat* (charity) as one of the pillars of Islam, wealthy Muslims are obligated to donate alms. Muslims base the amount of *zakat* on a surplus of wealth, rather than one’s income, while a minimum amount prevents the application of this tax. This minimum amount called *nisab* akin to the modern-day minimum wage determines who should give and receive charity. *Zakat* meaning \"purity\" or \"purification\" enacts a reciprocal gift-giving exchange, where the recipient and charity-giver accept blessings from God.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Diameter: 12cm, Height: 11cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and calligraphy.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, engraving, shape and calligraphy.","provenance":"Kingdom of Saudi Arabia, Medina","obtention":"Purchase","bibliography":"Aljabr, H., \"Weights and measures in the Hijaz during the Abbasid period 132-334H/749-945 A.D: An overview\", *Journal of Islamic Accounting and Business Research*, 11 : 7 (2020): 1417–1425.  \nKochuyt, T., \"God, Gifts and Poor People: On Charity in Islam\", *Social Compass*, 56 : 1 (2009): 98–116.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Alms","Medina","metalwork","Prophet Muhammed","Saudi Arabia"],"materials":["Bronze","Engraving"]},"cc3b74af-a7c4-51db-b788-69489a7072e4":{"name":"*Proximus tuus* \\[Latin: Your Neighbour\\]","alternate_name":"*Proximus tuus*","description":"In 1880 Achille D’Orsi submitted two artworks, including *Proximus Tuus*, to the National Exhibition of Fine Arts in Brera. The sculpture of *Proximus Tuus* made D’Orsi famous as a member of the Italian “Verismo” school of painting. The misery and harshness of fieldwork is represented for the first time in sculpture to denounce the consequences of the brutalisation of the human beings. This clear social denunciation created the emergence of a huge debate over this issue. The body and the facial expression of the peasant exhausted by labour became a symbol of the working class. The sculpture makes a plea for sympathy and pity for the worker right from the work’s title, expressed in Latin. The subject of the painting has been reproduced and copied several times in order to produce greater awareness over these problems.","type":"Sculpture","holder":"National Gallery of Modern Art (GNAM)","dates":"1880","location":"Rome","provenance":"Italy","copyright":"Copyright image: Soprintendenza alla Galleria Nazionale d'Arte Moderna e Contemporanea.","author":"Marina Minozzi","copy_editor":"Anne Dowell"},"cd9c5acc-6762-581c-8259-b6b3a0d9e694":{"name":"Pair of Torchères","alternate_name":"Torch holders","description":"These two grandiose torchères were ordered for the Chapel of Saint John the Baptist to be installed in São Roque church in Lisbon. With a triangular base, in gilt bronze, they form a pyramid held by titans. Above, a cornice developing into a dome is finished with Rocaille-inspired shells and a D. João V shield on each of the three surfaces of the torch holders. In niches below the dome, forming an oratory, the Doctors of the church are seated: St Jerome, St. Thomas Aquinas, Sr. Ambrose and St. Bonaventure, St. Augustine and St. Leo the Great. The hybrid ornamentation develops upwards in fluid volutes – wing, acroterion, cymatium – flowers in the shape of garlands, phytomorphic elements – rope, laurel and acanthus – and zoomorphic elements, as well as a variety of *putti* inspired by the Roman Baroque.  \nThey were conceived and produced by Giuseppe Gagliardi with the cooperation of the metalworker Fellice Schiffone, the carpenter Lucano Celladini, Agostino Ancidoni another metalworker, and Lorenzo Morelli a silversmith and founder. Following the death of Giuseppe Gagliardi minor finishing and the lamination were concluded by his son, Leonardo Gagliardi, who like his father was a master silversmith.","short_description":"A splendid pair of torch holders in gilt bronze and chiselled silver, they form part of a royal commission for the Chapel of St. John the Baptist. Designed and produced by Giuseppe Gagliardi, the metalworkers Fellice Schiffone and Agostino Ancidoni collaborated with him on the project. Lucano Celladini was the carpenter and Luciano Morelli was the silversmith and founder.","type":"Metalwork","holder":"Lisbon's Holy House of Mercy / Museum of São Roque","initial_owner":"Chapel of Saint John the Baptist, Church of São Roque","dates":"1749","location":"Lisbon, Lisbon","dimensions":"Each one H: 285 cm, weight: 380 kg","place_of_production":"Rome","method_for_datation":"All the objects in the Chapel of St. John the Baptist were made in Rome by Italian artists between 1743 and 1749.","provenance":"Chapel of Saint John the Baptist, Church of São Roque","obtention":"Following the expulsion of the Society of Jesus by Pombal in 1759, the Church of São Roque and all of its chattels were handed over to the Santa Casa da Misericórdia de Lisboa in 1768, which continues to own the artistic heritage of the former Jesuit order until the present day.","bibliography":"Rodrigues, M. J. M., *A Capela de São João Baptista e as suas colecções / The Chapel of Saint John the Baptist and its Collections*, Lisbon, 1989.  \nTeixeira, J., “Tocheiro” *O Triunfo do Barroco/ The Age of Baroque* London–New Haven, 1993.  \nViterbo, F., M. de Sousa, Almeida, R. V. De, *A Capella de S. João Baptista Erecta na Egreja de S. Roque. Fundação da Companhia de Jesus e Hoje Pertencente à Santa Casa da Misericordia*, Lisbon, 1997 (1A ed. 1900).  \nVale, T. L. M., *Da Igreja Combatente à Igreja Triunfante. Espaço e Imagem Religiosa do Concílio de Trento ao Barroco Pleno*, separata de Brotéria, Vol. 157, Lisbon, 2003.","workshop":"International Baroque","copyright":"Copyright images: Santa Casa da Misericordia de Lisboa.","author":"Antonio Meira Marques Henriques","translator":"Antonio Meira Marques Henriques","translation_copy_editor":"Mandi Gomez","keywords":["Chapel of St. John the Baptist","Church of São Roque","religious furnishing","Roman Baroque"],"materials":["Gilded silver on gilded bronze base"]},"ce09af48-d9a4-5ddf-b731-1782e470e142":{"name":"Casket","alternate_name":"Cofre","description":"Plácido Zuloaga was a very important metal designer, known for his artworks in damascening. His pieces were displayed in the different International Exhibitions and won different awards. This object reflects the influence of Arab or Spanish Muslim elements in decoration and in technique. The damascening was an Arab technique for the decoration the metallic artworks.","type":"Metalwork","holder":"National Museum of Decorative Arts","dates":"c. 1860","location":"Madrid","provenance":"Eibar, (Guipúzcoa)","author":"Ana Cabrera","copy_editor":"Anne Dowell"},"ce13dcdd-26d4-51f9-be00-2236cb4965f4":{"name":"Ewer and basin","description":"The basin is made of brass, with a wide, shallow rim and a concave body with a flat base. The bowl-shaped opening supports a soap holder, which sits as a plate and, after a slight neck, has straight sides folded upwards. The soap holder features a star at its centre and curved, three-pointed openwork perforations on the edges and underside. The rim of the basin is inscribed in Arabic with the words: “Mahmud Paşa’da Duyun-i Umumiye Caddesi'nde Osmanlı İmalathanesi,” which translates as “Ottoman Factory on Duyun-i Umumiye Street in Mahmud Pasha.”","type":"Ewer and basin","holder":"Konya Museum Directorate","location":"Konya","dimensions":"Basin diameter: 41cm, basin height: 33cm; Ewer height: 33cm, ewer base diameter: 11.5cm","copy_editor":"Alvaro Miranda","keywords":["Ablution","Basin","brass","ewer","Ottomans","water"],"materials":["brass"]},"ceddedce-74b1-58a0-9e37-95a0cdedcef0":{"name":"Cup","description":"This copper cup is of a characteristic bell-shaped form, with a rounded base. Owing to its shape, it fits comfortably in the hand. The surface is entirely decorated with leaf motifs, arranged either as vine tendrils or within petal-shaped medallions. Vessels of this type were used for drinking water or wine, and parallels can be found in the AH 13th / AD 19th century metalwork collection of the National Museum in Niš, Serbia.","type":"Metalwork","holder":"Museum of Applied Art","owner":"Museum of Applied Art, Belgrade","initial_owner":"Ljuba Ivanović (1882–1945)","dates":"AH 13th / AD 19th century","location":"Belgrade","dimensions":"Height: 12cm","place_of_production":"Local workshop","method_for_datation":"By stylistic and comparative analysis with related material.","method_for_provenance":"Research and documentary evidence.","provenance":"Serbia","obtention":"The item is a part of the collection of Serbian painter and engraver Ljuba Ivanović (1882–1945). The collection was purchased by the Museum of Applied Art in Belgrade in 1951 and comprises 3,116 items, bearing witness to the early modern and modern visual culture of the Balkans: urban and folk dress,  jewelry, metalwork, casting molds and tools, items carved in wood, horn, and mother-of-pearl, wood-carved and painted icons, etc. The items were collected in the field, mostly during the interwar period.","author":"Mila Gajić","keywords":["Copper","cup","metalwork","Serbia"],"materials":["Engraving","hammering","Tinned copper"]},"cf4c5cb6-fba8-5008-a74f-32d21004ada0":{"name":"Cup","description":"A tin cup decorated with a representation of St. Joseph, the patron saint of carpenters and a carpenter himself. In the course of the 19th century, craftsmen entered into different guilds to protect their professional rights. Membership to a professional guild was regulated in all details, which created a very particular way of life and work in Hungary that continued up until the end of 19th century. In Hungary as elsewhere in Europe, in order to enter a guild the candidate was obliged to fulfil a “wandering year”, a statutory trip that involved travelling sometimes far afield in order to learn and practice different techniques, after which the practioner had to accomplish a masterpiece. From this journey potential guild members made a “book of wandering” where they wrote about their journey,  noted all importants events, the names of the masters with whom they worked, the cities they visited and the pieces they made. Naturally, in this book the owner would write their name and where they were from, which meant that the book of wandering served as both a personal document and passport. On the basis of all this the guild decided whether to accept the candidate as a guild member or not. Activity of the guilds in Pest-Buda ended in 1872. This cup is an example of an object with religious imagery used in a non-religious setting.","short_description":"A ceremonial object belonging to the Guild of Carpenters in the city of Buda. It is an early example of guild history in the city.","type":"Applied art (metalwork; guild document)","holder":"Budapest History Museum","dates":"18th century","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 46 cm","place_of_production":"Buda","method_for_datation":"Historical documents and by analysis of the decoration and style.","provenance":"The Guild of Carpenters, Buda","obtention":"Purchased by Budapest History Museum","bibliography":"*Budapest* *az Újkorban* (*Budapest* *in Modern Times*), (ed. G. Szvoboda Dománszky), Budapest, 1995, pp. 28–29,","author":"Beatrix Basics","copy_editor":"Terézia Bardi","translator":"Beatrix Basics","translation_copy_editor":"Mandi Gomez","keywords":["book of wanderings","Buda","carpenters","craftsmanship","guild","metalwork","patron saint","Pest","St. Joseph","Tin"],"materials":["Tin with engraved linear decoration"]},"cf706f6f-69db-525d-a769-9e4a92dc0759":{"name":"A railway track with the opening date (1908) engraved","description":"It is one of the tracks in al-Madina Station wrote on it the opening date of the station and the arrival of the first train to al-Madina from Istanbul.","type":"Railway; steel rod; steel track","holder":"Saudi Commission for Tourism and Antiquities","dates":"1908","location":"Al-Madina Station"},"d04d6038-8121-55a2-8b2e-c0971ba15d5d":{"name":"Water pump","description":"This bronze pump was made by a Greek artisan in Trabzon. The mouth section of the pump is designed in the form of a stylised dragon head, while the body features floral motifs and bears the inscription \"[M.] 1810.\"","type":"Water pump","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Beginning of the Hegira 13th / AD 19th century","location":"Istanbul","dimensions":"Height: 95cm","place_of_production":"Black Sea region","method_for_datation":"Its date was determined by examining the inscriptions, which included the date of production.","method_for_provenance":"Its date was determined by reading the inscriptions and the date written on it.","provenance":"Trabzon (Türkiye)","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["bronze","water","Water pump."],"materials":["Bronze"]},"d05364e3-983c-594d-95a2-22f27c3c62fc":{"name":"Padlock","short_description":"Apart from the partly broken left ear and a piece of the locking mechanism this horse-shaped lock is completely preserved. The shape of the horse is rather naturalistic but poor in decoration. Its front legs are unusually elongated. The head is curved and the muzzle is emphasized. Between rump and back leg and on the neck the rivet heads are visible. The mane is depicted through carved lines. The carvings on the left side seem a little more orderly. Furthermore the bridle is also shown through diagonal engraved lines across the head. The eyes are two concentric circles. The hooves are indicated. Shackle and tail form the removable part with the barbed spring attached, all in one piece. The locking-mechanism is a barbed spring. The keyhole is in the front. Although its key it missing it is clear from the shape of the hole, that it must have been a T-shaped push-key.  \nThis type of horse-shaped lock is commonly found. There are comparable pieces within the Bumiller Collection but also in other collections.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 13th century / AD Probably 19th century","location":"Bamberg","dimensions":"Height: 4.6 cm, Length: 4.9cm, Width: 1.2cm","method_for_datation":"Probably Iran. A more precise origin cannot be established.","provenance":"Persian World","obtention":"Purchased from Ibrahimi, Hamburg in 1989","bibliography":"Tanavoli, P. and Wertime, J. T., *Lock from Iran Pre-Islamic to twentieth century*, Washington: Smithsonian Institution, 1976: 59-63.  \nTorre, Paola, *Lucchetti orientali. Funzione, simbolo, magia Roma, Palazzo Brancaccio, 5 luglio-30 novembre 1989*, Roma: Ministero per i beni culturali e ambientali, Museo nazionale d'arte orientale, 1989: 192-193.","author":"Tamara Haller","copy_editor":"Daniel de la Vega","keywords":["horse","metalwork","Padlock"],"materials":["Bronze or Brass","joint and engraved","parts cast"]},"d1281641-f7a2-5961-be72-73fcc5949104":{"name":"Telegraph transmitter","description":"The primary reasons for the Ottoman Empire adopting the telegram earlier and more easily than railroads were the telegram's convenience and lack of cost. American scientist Lawrence Smith – using tools sent by Samuel Morse – made a successful trial in front of the Sultan Abdulmecid, who was interested in technological innovations and science, and began modernization of the empire. Due to the outbreak of the Crimean War, the first underwater telegraph line was established between Crimea and Istanbul. This telegraph transmitter (1912, Siemens & Halske) was used in Istanbul in World War I.","type":"Electronic","holder":"Istanbul Postal Museum","dates":"1912","location":"Istanbul","provenance":"Istanbul","copy_editor":"Daniel de la Vega"},"d168fa23-f8ea-558a-bb8b-ef193168fbe3":{"name":"Ewer","alternate_name":"Jug","short_description":"A typically shaped ewer, mostly used for distributing water, with a cylindrical ribbed body, resting on a flared base with a tall cylindrical neck rising from a flat shoulder. At the top of the neck is a spout with a curved handle fixed to the opposite side. The body ribs are of two sizes. The narrower ribs are inscribed with *kufic* bands with floral motifs. The wider ribs are engraved with rosettes inlaid with silver and copper in the centre of each circle and cartouches of vegetal designs. Both the base and the shoulders are enhanced with auspicious blessings in *kufic* script. The neck features a hammered, stylised lion encased within calligraphic bands and the lion motif is repeated on the spout.","type":"Ewer","holder":"Sharjah Museum of Islamic Civilization","dates":"6th century AH / 12th century AD","location":"Sharjah","dimensions":"Height: 44cm, Diameter body: 21cm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Eastern Iran or Afghanistan, Khorasan","obtention":"Purchased","author":"Hazelle Page","materials":["copper","Copper alloy","hammered","incised","inlaid","Silver"]},"d1dd52e7-9117-58ed-9803-87a620891cda":{"name":"Moorish gunpowder flask","alternate_name":"Polvorera","description":"This gunpowder container, along with other pieces, was taken by Salvador de Foronda, a member of the Spanish Army, awarded for his actions in battle. He was a relative of the Marquis of Cerralbo and donated to his uncle’s museum these exceptional pieces in 1918. These kinds of pieces typically display rich decoration that in this case is hand made in local workshops. As with the other two pieces, both the Moorish dagger and musket, the flask has a fabric rope for the rider to carry it more easily.","type":"Armoury","holder":"Cerralbo Museum","dates":"19th century","location":"Madrid","provenance":"North Africa","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell"},"d23ab450-22c3-5cba-b10f-0719d1398789":{"name":"Mirror box","short_description":"The mirror box is signed with the characteristic formula \"*kamtarin muḥammad baqir*\" (the most humble Muhammad Baqir) and dated Hegira 1174 (AD 1760/61). Muhammad Baqir is one of the most famous Persian artists in the 18th century. He was the pupil of Muhammad ʿAli Ashraf (active Hegira 1134-1190 / AD 1722-1777) and worked in the 1750s on the borders of the so-called St. Petersburg album. Without doubt, this mirror box is one of his early independent lacquer works.  \n  \nMuhammad Baqir's oeuvre comprises border paintings for albums, single-leaf drawings and lacquer works. A striking feature of his art is his fascination in works by such renowned late Safavid artists as Muhammad Zaman (active Hegira ca, 1072-1105 / AD ca. 1662-1694) and ʿAliquli Jabadar (active Hegira 1059-1086 / AD 1649-1675) whose work he either copied or used as inspiration for his own creations. This is also the case with the three figurative panels of this mirror box. Thus, the half-naked bathing woman with a red towel sitting on a small rock can be compared to Muhammad Zaman's illustration of the bathing Shirin in a *Khamsa* from 1674/75.","type":"Pencase","holder":"Museum Rietberg","initial_owner":"Elsa Mäder","dates":"Hegira 1174 / AD 1760/61","location":"Zurich","dimensions":"Length: 17.1cm, Width: 11.6cm, Height: 1.5cm","method_for_datation":"The artist signed and dated his work.","method_for_provenance":"Old museum inventory","provenance":"Iran","obtention":"Gift of Elsa Mäder","bibliography":"Ivanov, Anatoly, “The Compiling and Decoration of the Album”, in Francesca von Habsburg and Elena Kostioukovitch (eds), *The St. Petersburg Muraqqaʿ: Album of Indian and Persian Miniatures from the 16th through the 18th Century and Specimens of Persian Calligraphy by ʿImad al-Hasani*, Lugano/Milan: ARCH Foundation and Leonardo Arte, 1996: 19-32.  \nMaury, Charlotte, and Guillaume, Carol, with a contribution by Alavi, Aida “A First Overview of Golestan 1644: Album Making, Connoisseurship and the Painter Muhammad Baqir”, in Melanie Gibson and Gwenaëlle Fellinger (eds), *Revealing the Unseen: New Perspectives on Qajar Art*, Berkeley: Gingko Press, 2022: 16-41.","author":"Axel Langer","copy_editor":"Jonathan Turnbull","materials":["lacquer","metal","Opaque watercolour","Papier maché"]},"d29b61f8-6409-5246-9702-ca8d0e46c16f":{"name":"Bottle, rose-water Sprinkler","short_description":"This vessel has a roughly globular but polygonal body. The surface of the body is made up of lozenged and triangular zones. The triangular areas each bear an incised triangle, while the lozenged surfaces show a medallion with the knot of Solomon in the middle. The bottle has a foot with a braided ribbon. The neck reveals a geometric ornament and an inscription, which is undeciphered. The mouth is covered with a sieve. It allows a regulated pouring of the liquid inside. The holes are each of an individual size.  \nVessels of this exact shape are rare, though objects with a sieved opening are not uncommon. It was probably used for sprinkling rose water.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 4-5th century / AD 10-11th century","location":"Bamberg","dimensions":"Height: 11.9cm, Diameter mouth: 4cm, Diameter body: 7.6cm","method_for_datation":"By stylistic analysis and through comparison","provenance":"Persian world, possibly Khorasan","obtention":"Purchased from Bakhtar Art, London 2012","bibliography":"Dahncke, Monika, Bumiller Manfred, Riederer, Josef, *Enghalsflaschen. Typologie frühislamischer Bronzen der Bumiller-Collection, Schriften des Museums für Frühislamische Kunst in Bamberg 5*, Bamberg/Wiesbaden: Reichert, 1997.  \nMelikian-Chirvani, Assadullah Souren, *Islamic metalwork from the Iranian world, 8-18th centuries*, Victoria and Albert Museum catalogue, London: HMSO, 1982.","author":"Tamara Haller","copy_editor":"Daniel de la Vega","keywords":["bottle","metalwork","polygonal","rosewater sprinkler","sieve"],"materials":["Bronze","cast","engraved and probably perforated"]},"d389d855-8b86-5926-9175-35f1c9a7b75b":{"name":"Vambrace","alternate_name":"Dawud Pasha’s vambrace","description":"Dawud Pasha's vambrace. Made of cast steel, this vambrace contains two hollowed circles with engraved floral patterns.","type":"Military object; arms and armour","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","provenance":"Turkey","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin"},"d3c49832-be80-5864-92b1-0536f5ce79f7":{"name":"*Tawa* (Roasting pan)","description":"*Tawa* (roasting pan) used to roast coffee beans.  \nCoffee is always served at the beginning of a visit and is repeatedly offered until guests politely signal that they have had enough by rocking their cup from side to side. In order to keep coffee hot and fresh for unexpected guests it goes through many stages. After roasting and grinding the coffee beans the grains are added to boiling water inside a large *dallah* (coffee pot) called a *khamra*. Next, the liquid is poured into a medium-sized coffee pot called a *taljeemah*. At this stage cardamom seeds, saffron and rose water may be added for flavour. From this jug, the coffee is poured into a serving dallah referred to as a mezallah, where the coffee is refined and filtered. The server must hold the *mezallah* with their left hand and distribute the fanayeel (coffee cups) using the right hand. The coffee should fill less than half of the cup.","type":"Pan","holder":"Sharjah Heritage Museum","owner":"Sharjah Museums Authority","dates":"Hegira mid 14th century / AD mid 20th century","location":"Sharjah, United Arab Emirates","dimensions":"Length: 450mm, diameter: 200mm, depth: 45mm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Arabian Peninsula","obtention":"Purchased","author":"Amanda Snyder","copy_editor":"Judy Harter","keywords":["coffee","coffee beans","pan","roasting pan"],"materials":["Iron"]},"d5394661-4645-57e7-b329-fa21ef1c08fd":{"name":"Scaled armours (cuirass), and swords.","description":"Two iron and ivory swords and two protective lamellar cuirasses or scaled armour, made out of overlapping metal rings. Usually worn over a thick linen or leather shirt, the cuirass protected the soldier from direct sword, arrow or dagger hits during battle. Sometimes it was hidden under a surcoat (burda).  \n  \nThere were two main types of cuirasses: the first was wider and more constrictive, although more protective; while the second was a shorter, sleeveless cuirass that allowed more freedom of movement, but which offered less protection. Foot soldiers and archers were known to cut the sleeves off their cuirasses because of the weight and hindrance of movement.  \n  \nProtective armours have a long history and are therefore difficult to date. In the AH 6th–7th / AD 12th–13th century, the manufacture of scaled armours reached its peak, especially during the Crusader wars. Cuirasses like this one were made of copper, steal and Iron.  \n  \nThe Arabs greatly valued the sword, giving it more than 100 different names. In the Middle Islamic period (AH 6th–10th / AD 12th–15th centuries) the manufacture of swords, shields and armour was active in Damascus, Cairo and Aleppo. Sometimes the name of the maker appears on the sword itself like 'Ali' who made the sword of the Mamluk Sultan Husam al-Din Lajin (r. AH 695–8 / AD 1296–9) and 'Hajji Yusuf' from Aleppo who made the sword of Sultan Qaytbay (r. AH 872–901 / AD 1468–96).","short_description":"Two iron and ivory swords and two protective lamellar cuirasses, or scaled armour, made out of overlapping metal rings. A cuirass was worn over a thick linen or leather shirt to protect the soldier from direct hits during battle. Sometimes it was hidden under a surcoat (*burda*).","type":"Armour, sword, arms, armours","holder":"Jordan Archaeological Museum.","dates":"Hegira 7th century / AD 13th century.","location":"Amman","dimensions":"Scale armour (cuirass) length 55 cm, width 45cm; sword length 84 cm.","method_for_datation":"By comparison with other, similar swords and cuirasses some of which were found in Syria and Egypt. For instance there is a similar cuirass found at Aleppo and now at Damascus National Museum.","method_for_provenance":"Syria and Egypt were the two principal centres for the manufacture of scaled armour and swords in the Mamluk period; it is possible that this cuirass and sword were purchased there.","provenance":"Unknown, but probably Syria or Egypt.","obtention":"The objects were purchased from an antiquities dealer.","bibliography":"الهندي.صفاء، تقنية الأسلحة الأيوبية و المملوكية و تطورها: القرن 6-10 ه / 12-16م، رسالة ماجستير، الجامعة الأردنية، ص. 49، شكل 72.  \n  \n*National Museum in Damascus Catalogue*, Damascus, 1969, fig. 77.  \n  \nStocklein, H. 'Die waffenscharze im Topkapu Sarayi Muzesi zu Istanbule', *Ars Islamica*, Vol. I, part 2, 1934, pp.200–19, fig. 10","linkcatalogs":"IAM_EG_EN_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","keywords":["armours","arms","military object","military wear","soldier","weapon","weaponry"],"materials":["Cuirass: iron","swords: iron and ivory."]},"d56fbc83-d137-562e-8b49-e4ffd202595c":{"name":"Censer","short_description":"The Chinese burner rests on three legs with Arabic calligraphy, reading the Muslim declaration of faith called *shahada*. During the Qing dynasty, this bowl would cradle incense to scent the air of a Chinese mosque.  \n  \nAlthough many regional Muslims could not read Arabic, the calligraphy endured as a decorative element. Because there are no Chinese characters to express the concept of a single God, Arabic words offer an effective medium to convey religious messages. As seen on the seal on the bowl’s bottom, artists utilized Chinese calligraphy to remark the ownership or production. The seal at the bottom of this censer reads \"Ming Dynasty, Manufactured by Wu Bang Zuo, of Public Works in the 5th year of the Xuande Emperor.\" While the inscription alludes to the production in 1430, numerous incense burners have been produced with the apocryphal mark.  \n  \nToday, the Muslim-Chinese minority seeks to preserve their heritage including rare objects such as the Qing-metalwork, which have been lost or destroyed over time.","type":"Religious relics","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"17th century","location":"Shahaniya","dimensions":"Length: 18.5cm, Width: 13cm","method_for_datation":"The date and origin were established from a research-based comparison of Islamic metalwork of China.","method_for_provenance":"The date and origin were established from a research-based comparison of Islamic metalwork of China.","provenance":"China","obtention":"Purchase","bibliography":"Al-Mannai, M. M., \"Islamic Chinese Art: Islamic anthology of Chinese calligraphy\", *QScience Connect*, 1: 3 (2021).  \nCurtis, E. B., *Chinese-Islamic Works of Art, 1644–1912: A Study of Some Qing Dynasty Examples*, Abingdon / New York: Routledge, 2019.  \nMiller, P. N., and Louis, F., *Antiquarianism and Intellectual Life in Europe and China, 1500-1800*, Ann Arbor: University of Michigan Press, 2012.  \nStöcker-Parnian, B., \"Calligraphy in Chinese Mosques: At the Intersection of Arabic and Chinese Calligraphy\", *Calligraphy and Architecture in the Muslim World*, (2019): 139.","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["China","Incense burner","metalwork","Qing"],"materials":["Bronze","Engraving"]},"d5f6e50a-98c0-5ed7-8aca-8f6313966465":{"name":"Basin.","description":"A spectacular piece of Mamluk metalwork in the form of a large basin with a flared rim, covered inside and out with silver and gold inlay decoration. A striking *thuluth* inscription surrounds the central panel of the bowl giving the name and titles of the Mamluk Sultan al-Nasir Muhammad ibn Qalawun, who ruled between AH 692 and 743 / AD 1293 and 1341. This basin is one of a number of metalwork vessels from this period featuring bold inscriptions as the main decorative element. The principal inscription is set against arabesques whose tendrils transform into ducks or birds. Dividing the inscription are three medallions filled with lotus flowers, and a small epigraphic blazon in the centre that reads: ‘Glory to our master, the sultan’. Above and below this central panel are two friezes of floral scrolls alternating with six roundels containing further inscriptions.  \nThe presence of lotus blossoms and peonies derives from chinoiserie designs, imported by the Mongols in Iran; these floral designs are also found in Iranian art at this time. The inscription around the rim of the interior reads: ‘Glory to our master, the Sultan al-Malik al-Nasir the wise, the efficient, the warrior, the champion of the faith, the defender Nasir al-Dunya wa’l-Din Muhammad ibn Qalawun, may his victory be glorious’. Large basins such as this one were used for a number of ceremonial functions. However, the circling fish in the base suggest that this basin was used as an ablution vessel.","short_description":"A large brass basin covered in silver and gold inlay, probably used as a vessel for ritual ablutions. A bold inscription band around the body of the basin is the main decorative feature, and displays the name and titles of the Mamluk Sultan al-Nasir al-Din Muhammad ibn Qalawun (AH 692–743 / AD 1293–1341).","type":"Metalwork, decoration object, silver","holder":"The British Museum.","initial_owner":"Sultan al-Nasir Muhammad ibn Qalawun.","dates":"About hegira 692–743 / AD 1293–1341.","location":"London, England","dimensions":"Height 22.7 cm, diameter (of rim) 54 cm.","method_for_datation":"The object is inscribed with the name Sultan Nasir al-Din Muhammad (r. 692–743 / 1293–1341). He was a great patron of the arts, commissioning many buildings as well as numerous fine objects; this object was made during his reign.","method_for_provenance":"The basin would have been made in Egypt or Syria as both countries were under the rule of the patron, Sultan Nasir al-Din Muhammad.","provenance":"Egypt or Syria.","obtention":"Acquired by the British Museum in 1851.","bibliography":"Atil, E., Renaissance of Islam: Art of the Mamluks, Washington, D.C., 1981, p.89–90, cat. no. 26.  \n  \nBarrett, D., Islamic Metalwork in the British Museum, London, 1949, plate no. 28.  \n  \nPhillips, T., (ed.) Africa: The Art of a Continent, London, 1996, p.587.  \n  \nWard, R., Islamic Metalwork, London, 1993, pp.111–3, fig. 88.","linkcatalogs":"IAM_EG_EN_001","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["arabesque","calligraphy","Chinese influence","floral decoration","water"],"materials":["Brass inlaid with silver and gold."]},"d6242eaa-ac06-5d04-8911-4ba4cf7ef4f6":{"name":"Lunch box.","description":"Three circular brass containers of identical size that stack on top of one another, topped with a lid; the tin layer now worn off. Originally, there would have been metal shafts on each side to hold the parts together. Cartouches around the edge of each container bear inscriptions or geometric patterns. These oblong cartouches alternate with roundels containing a geometric arrangement of repeated Y-shaped motifs. A line from a poem that was popular on metalwork objects of this period is quoted in the inscription cartouches: 'I have a shape which is full of beauty and meaning. Whoever concentrates on my beauty will find me a pleasure for the eye'. Each of the containers would have held a different food, and the lid would have served as a bowl. It is interesting that even such a humble object is beautifully engraved.","short_description":"A container made of three circular brass bowls stacked on top of each other and topped with a lid. This object was used to transport food; each container would have held a different food with the lid serving as a bowl.","type":"Metalwork, kitchenware, tinned","holder":"The British Museum.","dates":"Hegira 9th / AD 15th century.","location":"London, England","dimensions":"Height 18.4 cm.","method_for_datation":"Tinned objects became increasingly popular in Iran in the 9th / 15th century, as a less expensive option to inlaid brass. At the same time Mamluk metalworkers also adopted this technique, primarily for objects such as lunch boxes, plates and large dishes.","method_for_provenance":"Tableware objects, such as this lunch box, were produced for Mamluk patrons who could not afford silverware or inlaid brasses. These objects are inferior in quality to the group associated with Sultan Qaytbay (872–901 / 1468–96), produced in Cairo. Therefore, they were probably produced in Damascus, away from the main court.","provenance":"Syria.","obtention":"Acquired by the British Museum in 1908.","bibliography":"Ward, R., *Islamic Metalwork*, London, 1993, pp.117–9, plate 95.","linkcatalogs":"IAM_EG_EN_001","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["calligraphy","domestic vessels","food","furnishing","geometric decoration","inscription","poetry"],"materials":["brass","engraved and originally tinned."]},"d6762584-279e-5fd4-acbb-12abcc201763":{"name":"Bowl.","description":"A small circular brass bowl that is incised with bands of vegetal, geometric and epigraphic bands and detailing. A narrow band of scrolling runs below the rim, while the main body is enhanced by three superposed decorative bands, the upper and lower ones of which are narrow and contain densely plaited, geometric interlaced patterning. The area in between consists of an alternating succession of four elaborate elongated cartouches and four roundels. The cartouches display symmetrically disposed split-palmette extensions on either side, together with small triangular panels containing an interlaced scroll design, both of which extend into the geometric interlace bands above and below them. The cartouches are filled with alternating, diagonally disposed, and densely set split-palmettes and inscriptions in *naskhi* script. The inscriptions read: ‘mima ‘amala bi rasm al-‘abd al-faqir al-raji ‘afwa rabihi al-qadir al-mubarak ‘abd al-muqarr al-karim al-’ali al-mawlawi al-amir khanzidar Sayf al-Din Barquq’ (This is one of the objects made for the poor servant, desirous of the forgiveness of his powerful lord, Mubarak, the servant of his high noble excellency, the high, the lordly, the Amir Khanzidar \\[senior storekeeper\\] al-Sayf Barquq.’). The roundels, with small trefoil extensions that pierce the geometric interlace bands above and below them, contain a pattern of alternating fretwork and composite blazons surrounded by a scrolling border. The blazon comprising three superposed horizontal panels. The upper panel contains a lozenge, symbolising a napkin; the centre panel, a cup with inscribed pen-case flanked by powder horns; and in the lower area is another cup. This particular type of composite blazon was used by Sultan Qaytbay as well as his officials and two of his successors. This little bowl may have formed part of a multi-storey food container, which kept different foods in separate compartments and – as a precaution against poisoning – could be locked.","short_description":"Brassware with incised blazons and *thuluth* inscriptions giving the patron’s official titles is typical of the later Mamluk period. This little basin may have belonged to a multi-storey food box, which kept different foods in separate compartments and – as a precaution against poison – could be locked.","type":"Metalwork, brass, silver","holder":"National Museums of Scotland (NMS).","dates":"Hegira late 9th–early 10th century / AD late 15th century.","location":"Edinburgh, Scotland","dimensions":"Height 6.35 cm, diameter 13.97 cm.","method_for_datation":"Ward (1993) suggests that this item is closely related stylistically to the three stacked containers which form part of an engraved, and originally tinned, brass lunch box in the British Museum attributed Mamluk Damascus. According to Atil (1981) the particular type of blazon seen on this bowl is associated with Sultan Qaytbay, his officials and two of his successors, a fact that suggests a date of the late 9th–early 10th century / late 15th century.","method_for_provenance":"This item is related stylistically to three stacked containers which form part of an engraved and originally tinned brass lunch box in the British Museum, attributed to Mamluk Damascus.","provenance":"Damascus, Syria.","obtention":"Purchased by NMS from a sale of items belonging to Lady Mary Hamilton Campbell Ruthven after her death in 1885.","bibliography":"Atil, E., *Renaissance of Islam: Art of the Mamluks,* Washington D.C., 1981, pp.240–1, cat. no. 124.  \nWard R., *Islamic Metalwork*, London, 1993, pp.118–9, fig. 95.","linkcatalogs":"IAM_EG_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["blazon","calligraphy","domestic furnishing","domestic vessels","inscription","naskhi script","Sultan Qaytbay"],"materials":["Hammered and incised sheet-brass with remnants of silver inlay that is possibly a later addition."]},"d6880977-13ca-5aa6-b786-648161801155":{"name":"Basin.","description":"This piece, a deep copper basin inlaid with silver, is decorated with an epigraphic band written in *thuluth* script whose text reads: 'Made for the honourable Excellency, the sublime master, the learned, the just, the warrior (of the frontiers), the defender (of the faith), the masterful, al-Sayfi Tabtaq al-Maliki al-Ashrafi.' The name carried by this vessel is linked to Amir Tabtaq, one of the officers under al-Malik al-Ashraf Khalil, who ruled from AH 689–93 / AD 1290–4. Tabtaq was the governor of Qus a city in Upper Egypt, during the third reign of Sultan al-Nasir Muhammad ibn Qalawun (AH 709–41 / AD 1309–40). A number of blazons depicting a goblet, a symbol for the position of cupbearer, intermingle with the inscriptions. The inside centre base of the basin holds a design composed of six fishes arranged in a spiral format.  \nThe basin was used for hand-washing and at times for washing clothes. During the Mamluk period, the wardrobe or storeroom for clothing was known as '*tast khana*' meaning the 'abode of the basin' and all that was allotted to the sultans by way of basins, apparel, jewellery, swords, chairs and carpets was stored there. There were various types of basin and a variety of decorative styles, including gold and silver inlay, especially during the Mamluk period.","short_description":"A basin would form a pair with a ewer as an indispensable item in hand-washing and cleanliness in general. This basin, inlaid with silver, bears the blazon of its owner, the cupbearer Amir Tabtaq.","type":"Basin, copper","holder":"Museum of Islamic Art","dates":"Hegira 8th century / AD 14th century.","location":"Cairo","dimensions":"Height 17 cm, diameter (of the opening) 44 cm.","method_for_datation":"The basin was dated based on studies of the inscriptions which bear the name of Amir Tabtaq, one of the officers of al-Malik al-Ashraf Khalil, and a governor of the City of Qus during the reign of Sultan al-Nasir Muhammad ibn Qalawun.","method_for_provenance":"This piece was produced in Egypt, for in addition to having been discovered in the Egyptian City of Qus, it was commissioned specifically for Amir Tabtaq. Furthermore, the inlay technique used on this basin is in the mode that flourished in Egypt during the Mamluk period. There are a number of pieces, acquired by museums, that have been made in an identical manner to this piece, and whose provenance has been attributed to Egypt.","provenance":"Egypt.","obtention":"The basin was uncovered during the course of archaeological excavations in 1966 at Qus.","bibliography":"Abd al-Razzaq, A., “Al-Ranuq ala 'asr Salateen al-Mamalik \\[Blazons during the Mamluk period\\]”,in *Majalat al-Jam'iya al-Tarikhiya \\[Journal of the Historical Association\\],* Vol. 21, Cairo, 1974.  \nAllan, J., *Metalwork of the Islamic world: The Aron Collection*, London, 1986.  \nAtil, E., *Renaissance of Islam: Art of the Mamluks,* Washington D.C., 1987.  \n\\_\\_\\_\\_\\_\\_, et al, *Islamic Metalwork in the Freer Gallery of Art*, Washington D.C., 1985.  \nFehervari, G., *Islamic Metalwork of the Eighth to the Fifteenth Century in the Keir Collection,* London, 1976.  \nMusilhi, S., *Adwat wa Awani al-Matbakh al-Ma'adaniya fi al-'Asr al-Mamluki \\[Metal Implements and Tools of the Kitchen during the Mamluk Period\\],* PhD thesis, University of Cairo, 1983.  \nStierlin, H., and Stierlin A., *Splendours of the Islamic World: Mamluk Art in Cairo (1250–1517),* London, New York, 1997.","linkcatalogs":"IAM_EG_EN_001","author":"Muhammad Abbas Muhammad Selim","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["blazon","Copper","inlay","Thuluth"],"materials":["Copper inlaid with silver."]},"d7af68b8-a735-58da-b119-51e16cb51bde":{"name":"Gilt copper candlestick","short_description":"This candlestick was possibly made for a religious context, judging by its curious inscription all along the vertical facets of the neck and around its base. While Arabic in appearance, it merely repeats individual letters and letter sequences. Such pseudo-inscriptions are not uncommon in Islamic metalwork, and some may have mystical significance.","type":"Metalwork","holder":"Sharjah Museum of Islamic Civilisation","dates":"Hegira late 9th - 10th century / AD late 15th - 16th century","location":"Sharjah","provenance":"Ottoman Turkey","keywords":["calligraphy","pseudo inscriptions"]},"d8a3f282-4a5c-57d0-8193-f56213cd10a0":{"name":"Water jug","description":"Ottoman Artifact from the Reign of Sultan Mahmud I.  \nInscribed in Ottoman Turkish with the following text:  \n  \n\"*Eba Eyyûb el-Ensârî aleyhir-raḥmeti’l-bârî’de Kur’an ve Mevlid-i Şerif için, Şevketli, Kerametli, Mehabetli Sultan Mahmud Han-ı Gazi Hazretlerinin Vakf-ı Hümâyun-ı Mülûkânesindendir. Sene 1161.*\"  \n  \n\"Belonging to the Imperial *Waqf* of His Majesty, the Glorious, Gracious, and Illustrious Sultan Mahmud Khan the Conqueror, for the recitation of the Qur’an and the Mevlid-i Şerif at the shrine of Abu Ayyub al-Ansari. Year \\[Hijri\\] 1161.\"","type":"Jug","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 12th century / AD 18th century","location":"Istanbul","dimensions":"Diameter: 10cm, depth: 6cm","place_of_production":"Istanbul","method_for_datation":"Determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","method_for_provenance":"It was determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","materials":["copper"]},"d8e1d81f-2112-5652-987b-f417b3f15ad1":{"name":"Scalloped ewer","description":"This pitcher with gadrooned (scalloped) body is used to rinse the hands and face of a guest who has arrived at a host’s residence. The shape of the object is well known in Türkiye and India; it was also reproduced in ceramics.  \nThe mark of the owner is visible in two places: under the spout, in an almond cartouche, and again in a hexagon whose sides are extended by a three-lobed floret.","type":"Metalwork","holder":"Museum of the Arab World Institute","owner":"Museum of the Arab World Institute","dates":"Hegira 11th century / AD 17th century","location":"Paris","dimensions":"Height: 31.5cm, l. 28cm, Diameter: 17.5cm, Minimum diameter: 12cm","provenance":"Iran or India","obtention":"Purchased at auction on advice of Ader-Picard-Tajan, 1990.","bibliography":"Delpont, E., et al., *Album du musée*, Paris: Somogy éditions d'art, 2012: 387.  \n  \nLane, A., *Later Islamic Pottery: Persia, Syria, Egypt, Turkey*, London: Faber and Faber, 1971: Fig. 94.  \n  \nMelikian-Chirvani, A.S., *Le bronze iranien*, Paris: Musée des Arts Décoratifs, 1973: 105.  \n  \nSkelton, R., et al., *Facets of Indian Art. A symposium Held at the Victoria and Albert Museum on 26, 27, 28 April and I May 1986*, London: Victoria and Albert Museum, 1986: 253-259.  \n  \nZebrowski, M., \"The Indian Ewer\", in *Facets of Indian Art*, London: Victoria and Albert Museum, 1986: 256, Fig. 8.","translator":"Judy Harter","materials":["Bronze","cast","chiseled","engraved"]},"d924bdbd-6784-5093-a7c0-3fb7fe51be48":{"name":"Vessel with tap","description":"The vessel has a cylindrical body with a rim that projects outward. It is fitted with a lid, which tapers upwards in a stepped form. The lower part of the body is decorated with a row of rounded reliefs. The lid has a rounded handle that expands slightly outward. A small brass spout is fitted to the lower part of the body.","type":"Fountain","holder":"Bursa Museum Directorate","location":"Bursa","dimensions":"Height: 23cm, base width: 16.5cm, mouth: 17.8cm","copy_editor":"Alvaro Miranda","keywords":["Copper","fountain","Ottomans","water"],"materials":["copper"]},"da76c25e-e703-5257-a4cf-5bf924f5d270":{"name":"Ewer and dish","short_description":"Veneto Saracenic refers to a large group of 15th and 16th century metal ware, primarily in European collections. It is attributed to Muslims artists working in Venice. Such ware is domestic in nature and includes bowls, spherical incense burner and candlesticks. They are made of bronze or brass and are usually inlaid with geometric or arabesque motifs in silver, with occasional traces of gold and frequent additions of a black compound.","type":"Metalwork","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 900-1000 / c. AD 1500-1600","location":"Kuala Lumpur","dimensions":"Height: Dish: 5.5cm, Ewer: 30.5cm; Diameter: Dish: 45.3cm, Ewer: 19.5cm","provenance":"Veneto Saracenic","bibliography":"Islamic Arts Museum Malaysia, *IAMM Guide Book*, Kuala Lumpur: IAMM Publications, 2014: 17.  \nIslamic Arts Museum Malaysia, *Beyond Orientalism: How The West Was Won Over By Islamic Art*, Kuala Lumpur: IAMM Publications, 2014: 180.  \n*Islamic Arts Museum Malaysia*, Volume 2, Kuala Lumpur: IAMM Publications, 2015: 182-183.","materials":["Hammered and engraved gilt brass"]},"dafb0687-3286-55b2-ab74-0b219082d1e8":{"name":"Drum","short_description":"Small kettle drums like this one were used in pairs; attached to the saddle they were beaten by hand or with small drumsticks at the onset of the battle. Their semi-circular bronze corpus was covered with a leather drumhead.","type":"Musical instrument","holder":"Kunsthistorisches Museum","dates":"Undated","location":"Vienna","dimensions":"Height: 13cm, Diameter: 20cm","method_for_datation":"Comparison with similar objects","method_for_provenance":"ILG / BOEHEIM, 1883  \nInventory of Furniture and Small Artefacts held at Ambras Castle, page 5","provenance":"Turkey?","obtention":"Collection of Ambras castle; documented since AD 1882","bibliography":"Scheicher, Elisabeth et al. (eds), *Kunsthistorisches Museum Sammlungen Schloss Ambras. Die Kunstkammer*, Innsbruck: Kunsthistorisches Museum, 1977.","author":"Veronika Sandbichler","copy_editor":"Liz Cooper","keywords":["equipment","leather","military object","music","Ottoman army","ottoman empire"],"materials":["Bronze","leather"]},"dc343316-02d1-524a-83cb-4ec0479ae675":{"name":"Basin","short_description":"Everyday utensils used in the Fatimid period were made of cast copper alloy as this basin. The conical shape, which recalls late-antique vessels of similar shape made of precious metals, continued to be used in Islamic ceramics and metalwork after the 12th century. The decoration consists of a double row of reciprocating *kufic* inscriptions that express good wishes to the owner and is further adorned with scrolls and heart shapes.","type":"Basin, metalwork","holder":"Benaki Museum","dates":"Hegira 5th-6th century / AD 11th-12th century","location":"Athens","dimensions":"Diameter 25.6 cm","provenance":"Egypt","keywords":["Basin","kufic","metalwork"],"materials":["Copper alloy"]},"dc345fef-438d-5088-994a-47a78663e585":{"name":"Ablution jug.","description":"A cylindrical jug of leaded bronze without a handle and with a tall neck divided into two unequal parts by a decorative 'rope' band. The cylindrical body is plain, although the shoulder is divided into narrow bands that are filled with short vertical strokes.  \n  \nThis vessel may once have been used as an ablution jug for ritual washing before prayer; many other such metal and ceramic jugs have been found associated with this ritual. This particular jug was found during archaeological excavations in the hammam that was part of the qasr (palace) at Umm al-Walid.","short_description":"A jug of leaded bronze, without a handle and made from four parts welded together. Found during excavations at the baths of the Umayyad qasr at Umm al-Walid, it may have been used as an ablution jug for ritual washing before prayer.","type":"Jug, metalwork","holder":"Madaba Archaeological Museum.","owner":"Now on display at Jordan Museum","dates":"Hegira 2nd century / AD 8th century.","location":"Madaba","dimensions":"Height 41.8 cm, diameter (of neck) 7 cm.","method_for_datation":"The object was dated by its stratigraphic context and association with Umayyad pottery vessels also found at the site.","method_for_provenance":"Where this vessel was produced is unknown but it was recovered during archaeological excavations at Umm al-Walid near Madaba.","provenance":"Objeto hallado en Umm al-Walid.","obtention":"The object was recovered during archaeological excavations at Umm al-Walid in 1992.","bibliography":"Bujard, J., and Schweizer, F., *Entre Byzance et l'Islam: Umm er-Rasas et Umm el-Walid – Fouilles genevoises en Jordanie*, Geneva, 1992, p.17, fig. 11/6.  \nHaldimann, M. A., *Les Implantations omeyyades dans la Balqa: l'apport d'Umm el-Walid*, Annual of the Department of Antiquities of Jordan*,* XXXVI, 1992, pp.307–18.  \nJoguin, M., 'Des pots et des hommes; l'exemple d'Umm el-Walid', *Studies in the History and Archaeology of Jordan*, Vol. VII, 2001, pp.641–5, fig. 5.","linkcatalogs":"IAM_JO_EN_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","keywords":["Ablution","metalwork"],"materials":["four parts joined together.","Leaded bronze"]},"dd44c4b3-03fc-5979-8e45-d6162ea57c5a":{"name":"Sword.","description":"Although this sword was not found in Crusader lands, it is a typical example of a Crusader sword brought to the Holy Land and used by European warriors and knights. The sword has a double-edged slashing blade, which tapers off to a sharp point. It has a central, single channel (fuller) running along the blade on each side, the presence of which lightens the sword without affecting its strength thus making it more effective for cutting and hacking. The handle has a pommel (the knob at the top of the grip) in the shape of a chamfered wheel that is inlaid with brass in the form of a cross design on one side, and a design consisting of three half circles linked in the middle with three lines, on the other. This type of pommel came into use in about the AH 5th / AD 11th century, when sword blades increased in length too. Despite the disappointing number of artefacts that have survived from the Crusades, contemporary European manuscripts and their miniature paintings, together with monuments and their carvings, have depicted with impressive accuracy the types of arms and armour used during the Crusader period.","short_description":"Although this sword was not found in Crusader lands in the Middle East, it is a typical example of a Crusader sword brought to the Holy Land and used by European warriors and knights. Contemporary Medieval European manuscripts depict, with remarkable accuracy, Crusader arms and armour.","type":"Metalwork, iron, arms, armours","holder":"Burrell Collection, Glasgow Museums.","dates":"About hegira 6th century / AD 12th century.","location":"Glasgow, Scotland","dimensions":"Length 119.4 cm: comprising (pommel) 4.8 cm, (grip) 10 cm, (blade) 104 cm.","method_for_datation":"Artistic analysis: several reasonably accurate examples of these swords appear in contemporary European miniatures in manuscripts, and on stone carvings, confirming that northern European Crusader knights in the Holy Land used this type of sword.","provenance":"Continental / Northern Europe.","obtention":"Part of the collection given to the City of Glasgow by Sir William and Lady Burrell in 1944.","bibliography":"Coe, M. D., et al, *Swords and Hilt Weapons*, New York, 1989.  \n  \nNicolle, D., *The Crusades*, Oxford, 1988.","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["armours","arms","Crusader","military object","pilgrimage","weapon","weaponry"],"materials":["Iron","with brass inlay on pommel."]},"dd7e299b-4a4e-544f-b652-be813f7bf7be":{"name":"Bowl","alternate_name":"Cuenco","description":"This bowl with a rich Arab inscription copied models from the Mamluk period. This piece is a Neo-Mamluk artwork possibly made in Egypt.","type":"Metalwork","holder":"National Museum of Decorative Arts","dates":"1880–1930","location":"Madrid","provenance":"Egypt?","author":"Ana Cabrera","copy_editor":"Anne Dowell"},"ddebc130-d6e4-5806-a3f9-ceaf5ea53358":{"name":"Incense Burner in the Form of a Bird","short_description":"A hollow cast bronze incense burner in the form of a bird with a flattened head, ovular in cross-section, with a hooked beak coming to a blunt tip. The eyes on either side of the head are rendered with concentric, incised circles containing a repeating design looking like parentheses around a period: ( . ) and surrounding a circular perforation. There is an incised \"V\" on the top center of the head whose arms curve around, outlining the sides of the head. The bird has a short, slightly curved neck decorated in lightly incised rope-like lattice patterns, as well as numerous, irregularly spaced circular perforations that continue down the back that tapers into a \"V.\" The tear-shaped wings, flat on the sides, are incised with areas of \"feathers,\" hatched triangles, and honeycombs. The flat chest has a square drawer with a thin, semi-ovular handle or pull. There is a large, thick tang under the wings and the upper part of the body that flares in width, but tapers in thickness, becoming the tail of the bird. There are two finished notches in the center of the tail's edge. It is incised with feathers similar to those on the ends of the wings. Two squared shafts attach to the underside of the body for the legs, and at the midpoint taper in sharply to become cylinders. Each cylinder is attached to a flat, broad foot with three toes and one long back claw.","type":"Metalwork","holder":"Saint Louis Art Museum","dates":"Hegira Late 5th to late 6th century / AD 12th century","location":"Saint Louis","dimensions":"Length: 18.1cm x Width: 8.6cm x Diameter: 22.2cm, Weight: 0.7kg","method_for_datation":"Scholarly review and/or comparison to similar objects from the period.","method_for_provenance":"Scholarly review and/or comparison to similar objects from the period.","provenance":"Iran, Asia","obtention":"Museum Purchase, Eliza McMillan Trust, 1952","bibliography":"Al Khemir, Sabiha, *Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture*, Provo, Utah: Brigham Young University Museum of Art, 2012.","keywords":["Asia","bird","bronze","Burner","Incense","Iran","metalwork","Persian"],"materials":["Bronze"]},"df34e2f3-4b74-586f-9068-15107f458dd8":{"name":"Lidded bowl (*sahan*)","description":"Small rounded lidded bowl – *sahan* (Ar. *sân*) – with lobed rim, for keeping and serving food. The lid is bell-shaped, with a small brass lifting handle on the top. The bowl is decorated with an abstract geometric pattern, while lid's decorations are in the forms of flower petals with leafy branches within.","type":"Tableware","holder":"Museum of Applied Art","initial_owner":"Painter and collector Ljuba Ivanović","dates":"Hegira late 13th century / AD late 19th century","location":"Belgrade","dimensions":"Height: 115mm, length: 147mm, weight: 180g","place_of_production":"Kingdom of Serbia","method_for_datation":"By stylistic and comparative analysis with related material.","obtention":"Purchased in 1951.","author":"Mila Gajić","keywords":["Copper","lidded bowl","Ottoman Balkans","sahan","sân","Tableware"],"materials":["copper","Cutting","hammering","tinned"]},"df3db103-55c2-57af-a18e-f9b924273ff5":{"name":"Soap box","alternate_name":"*kildence* , *sabunluk*","description":"Soap boxes such as this example were part of the AH 13th / AD 19th century Turkish dowry tradition. Known as *sabunluk*, *kildence* or *kildan*, they were offered to the bride as part of grooming trousseau which would include a personal toiletry set and refined objects that she would bring with her to the hamam.  \n  \nThis box is made of tinned copper. The sides are decorated with repoussé semi-circles running along the edges and encircling a row of diamond-shaped motifs finely engraved with a lotus-like pattern. Similar delicate vegetal engraving adorns the upper level which is indented on the top, most probably to leave a comfortable resting space for the knuckles during transportation. The rectangular handle is supported by two slightly leaning hinges. Two further hinges house a bird-shaped lock to safely protect the contents of the box.  \n  \nIt currently holds a silver pumice case and its bottom is pierced allowing it to serve as a sieve so that any residual moisture could drain off. The *kildence* could vary in size and contain a variety of other items such as *kese* (exfoliating washcloth), combs, mirrors, makeup, perfumes, etc.  \n  \nA treasured family item, the quality of the *kildence* matched the refinement of the set it was part of and would act, like every object in the dowry trousseau, as a statement on the social status of its holder.  \n  \nAs the traditions fade away and the utilitarian objects of the hamam turn into plastic, this carefully crafted item is a testimony to the refinement of the often overlooked material culture of the hamam tradition in Türkiye.","type":"Metalwork","holder":"Institute of the Arab World","dates":"AH 13th / AD 19th century","location":"Paris","dimensions":"Box height: 12cm, length: 20cm","method_for_datation":"Comparison with similar items.","method_for_provenance":"Comparison with similar items.","provenance":"Türkiye","obtention":"Gift, 2023.","bibliography":"Başkan A., ‘A Research on the Temporal Transformation of Objects in Turkish Bath Culture’, in","author":"Dounia Handis","keywords":["Ablution","Hammam","kildence","sabunluk","soap box","Türkiye","water"],"materials":["Box: partially tinned copper with embossed and perforated decoration Case: silver with embossed and decorative overlay"]},"dfc454bd-a4c8-5e09-bb84-93b4d6b1629f":{"name":"Basin","short_description":"A brass basin with splayed rim; raised, chased, and inlaid with silver and niello. The main decorative element on the exterior is a large band of flowing *Thuluth* (elaborate Arabic script) inscription against a floral background, broken by three circular medallions. Each medallion has an inner circle of *Nashki* (more standard Arabic script) bordered by a floral band. The large register is bordered top and bottom by narrow registers decorated with pinwheels and diamonds filled with a fleur-de-lis pattern. The top register has crowning element of upward pointing leaves. The exterior *Thuluth* inscription reads, \"The seat of power, the lord, the princely / the great, the conqueror, the defender of the faith, the frontier warrior / the protector of frontiers, the rendered victorious by God the \\[mamluk\\] of al-Malik al-Nasir.\" The *Nashki* inscription reads, \"The seat of power, the lord, the learned, the diligent, the defender of the faith, \\[mamluk of al-Malik\\] al-Nasir.\" The underside of the lip has a roughly engraved inscription. The edge of the rim is decorated with a running vine scroll. A wide register of script is on the interior of the lip broken by six medallions, each with a pinwheel surrounded by a floral border. The Arabic inscription on the interior of the lip reads, \"The seat of power / the lord, the / princely, the great, the lear / ned, the diligent the / conqueror, the defender of the faith / the master, \\[mamluk of al-Malik\\] al-Nasir.\" Below the remaining decorative register is an elaborate floral band with leaves pointing downward. On the interior floor is a large engraved circular medallion of fish with the same border of flowers and outward pointing petals.","type":"Metalwork","holder":"Saint Louis Art Museum","dates":"Hegira Mid 8th century / AD mid 14th century","location":"Saint Louis","dimensions":"Length: 23.5cm x Width: 55.6cm","method_for_datation":"The stately Arabic inscriptions encircling the exterior of the basin and its interior rim indicate it was created for a high-ranking officer of the Mamluk ruler al-Malik al-Nasir (ruled 1293–1341).","method_for_provenance":"Per inscription (see description)","provenance":"Northern Africa, Egypt, Africa","obtention":"Museum Purchase, 1927","keywords":["Africa","Basin","brass","Egypt","Egyptian","gold","inlay","metalwork","Northern","silver"],"materials":["Brass with silver and gold inlay"]},"dfe0e7ce-5393-50c9-b0a6-1ab8bb8373e1":{"name":"Lunch box","short_description":"This curious object was probably used to store food for a member of the ruling military elite in late medieval Egypt and Syria while he was travelling. The status of its owner is indicated by the heraldic device or blazon repeated in medallions on the cover and body of the box. The blazon is a composite type with a napkin in the upper field, a cup in the middle between powder-horns, and a smaller cup in the lower field. Perhaps as a means of travelling light, the cover of the lunch box may have served a secondary function as a dish; when turned upside down the round handle would become the foot of a nicely sized dining vessel. Just as today, this Mamluk-era traveller sought to maintain all the comforts of home.","type":"Tools and Equipment","holder":"Los Angeles County Museum of Art (LACMA)","dates":"Hegira second half of the 9th century / AD second half of the 15th century","location":"Los Angeles","dimensions":"15.2 x 40.6 x 24.1cm","method_for_datation":"Among the large group of surviving lunch boxes, many bear the blazons of Mamluk officials thereby helping to date the entire group to Hegira the second half of the 9th century / AD second half of the 15th century; furthermore, several lunch boxes were made for notables associated with cities such as Damascus and Aleppo, indicating a probable Syrian provenance.","method_for_provenance":"The use of tinning on the exterior in emulation of more costly silver-inlaid metalwork as well as the dense decorative and epigraphic style tie this object to late medieval Syria.","provenance":"Syria","obtention":"Collection of Maan Z. Madina (1926-2013), New York, until 2002 (sold to); LACMA, The Madina Collection of Islamic Art, gift of Camilla Chandler Frost.","bibliography":"Komaroff, Linda, *Lo Terrenal y lo divino: Arte islámico siglos VII al XIX Colección del Museo de Arte del Condado de Los Angeles*, Santiago, Chile: Centro Cultural La Moneda, 2015: 118.  \nKomaroff, Linda, *Beauty and Identity: Islamic Art from the Los Angeles County Museum of Art*, Los Angeles: Los Angeles County Museum of Art, 2016: 145.","author":"LACMA Staff","keywords":["calligraphy","domestic vessels","engraving","furnishing","geometric decoration","inscription","metalwork","military object"],"materials":["Bronze","engraved and tinned"]},"dfe9a48a-a348-5020-8040-4c1a0c4cf94e":{"name":"Miniature casket","short_description":"The casket is richly ornamented with silver inlaid arabesques and inscriptions, with the name of the craftsman, Ismail, son of Ward from Mosul, who himself had served his apprenticeship alongside a master-craftsman, also from Mosul. This is the oldest dated work attesting to the importance of Mosul as a centre for the inlaid metalwork industry. Even after 1261 and the destruction of the town by the Mongols, craftsmen working elsewhere retained the surname *al-Mawsili*, as a guarantee of quality.","type":"Casket, metalwork","holder":"Benaki Museum","dates":"Hegira 616 / AD 1220","location":"Athens","dimensions":"Height 3.5 cm","provenance":"Mosul","keywords":["calligraphy","Casket","inlay","inscription","metalwork","miniature","zangids"],"materials":["Brass inlaid with silver"]},"dfeaa653-0f75-546d-8c39-7cac8ec05374":{"name":"Planispheric Astrolabe","description":"Astrolabes of this size were not precise enough for astronomical observations, but served well for telling time, and astrologers could use them to determine the position of a planet relative to the different astrological houses. The intricate calligraphic faceplate of this example is typical of Safavid‑period astrolabes; it reads: \"In the name of God, the Merciful, the Compassionate\" (bismallah al‑Rahman al‑Rahim).","type":"Metalwork","holder":"The Metropolitan Museum","initial_owner":"I. G. Sargis, New York(until 1963)","dates":"AH 1065 / AD 1654-5","location":"New York","dimensions":"Height: 21,6cm, width: 17,1cm, depth: 5,7cm","place_of_production":"Attributed to Iran, Mashhad","obtention":"Sold to the museum in 1963","bibliography":"Bowie, T. R., \"An Exhibition Prepared by Theodore Bowie.\" In *Islamic Art Across the World.*, Vol. no. 1970/3. Bloomington, IN: Indiana University Art Museum, June 17 to Oct. 1, 1970.  \n  \nMayer, L. A., *Islamic Architects and Their Works.*, Geneva: Albert Kundig, 1956.  \n  \nRahim, H., *Inscription as Art in the World of Islam: Unity in Diversity: at the Emily Lowe Gallery.* , Hempstead, NY: Hofstra Museum, Hofstra University, 1996.  \n  \nEkhtiar, M., P. P. Soucek, S. R. Canby, and N. Haidar, ed., Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art., 1st ed., New York: The Metropolitan Museum of Art, 2011.  \n  \nSaliba, G., *Islamic Science and the Making of the European Renaissance.* , Cambridge, MA: MIT Press, 2011.  \n  \nEkhtiar, M., and C. Moore, ed. \"A Resource for Educators.\" In Art of the Islamic World., New York: The Metropolitan Museum of Art, 2012.  \n  \nTokyo Metropolitan Art Museum. \"Masterpieces of the Metropolitan Museum of Art.\" In *Earth, Sea, and Sky: Nature in Western Art.* ,Tokyo: Tokyo Metropolitan Art Museum, 2012.","catalogue_holding_link":"https://www.metmuseum.org/art/collection/search/451699","materials":["Brass and steel","cast and hammered","pierced and engraved"]},"e1235680-19c3-5988-a988-34caaf7813e1":{"name":"Rosewater bottle","description":"This bottle, used for storing rosewater or perfumes, is decorated with floral motifs, geometric patterns, and pictorial scenes. Structurally, it consists of a base, a body and a mouth.  \n  \nThe base is slightly elevated and round in shape, decorated with twisted floral branches made of half palm fronds.  \n  \nThe body is spherical, slightly tapered upwards, and is divided into three round bands, the middle one being the largest. These bands are framed with decorative borders composed of twisted floral branches and segments of palm fronds. The middle band features intersecting circular shapes, adorned with pictorial scenes set against a background of plant decorations made of multi-petaled rosettes and bird illustrations. The surfaces of the shapes are decorated with images of women wearing various types of hats and Iranian garments. Some are shown standing in tilted positions as if dancing, others are sitting, and some appear in whimsical or clownish poses. The upper band is adorned with touching circular shapes featuring seated women, some with sorrowful expressions and others in dancing postures. The lower band also contains touching circular shapes, depicting people wearing various hats and a mix of Iranian and fantastical clothing.  \n  \nThe neck, shaped like a swan’s neck, begins and ends with a raised part decorated with zigzag patterns. The neck is decorated with oval shapes showing figures wearing various hats and Iranian garments – some standing, some sitting and some as mythical beings.  \nThe mouth, shaped like a teardrop, is adorned with the same pictorial scenes as those on the body and neck.  \n  \nSome Persian legends mention this vessel, known as “Ashkdan” or “Eshqdan” (meaning Vessel of Tears), suggesting that such bottles were used to collect women's tears during the long absence of their husbands. Upon their return, the amount of tears would be measured as an expression of love. In Shia mourning rituals, it is believed that tears are kept to commemorate martyrs, and these tears are thought to possess healing powers. However, the more accurate historical use of such bottles among the Persians was for applying perfume or rosewater to the hands and clothing.","type":"Ewer","holder":"Sheikh Faisal Bin Qassim Al Thani Museum FBQ Museum","dates":"AH 11th century / AD 17th century","location":"Ash-Shahaniyah, Qatar","dimensions":"Diameter: 42cm, Height: 41cm","provenance":"Iran","copy_editor":"Zeina Al Amad","keywords":["Copper","ewer","rosewater bottle","water"],"materials":["copper","incising and engraving."]},"e1732f4b-a381-5db9-a082-83663976a5f9":{"name":"Bowl (*Badiye*) with spiral vines and a poem in *nastaliq* script","short_description":"This object is a wine bowl, or *badiye*, decorated with arabesques, animal medallions, and a poem written in *nasta’liq* script.  \n  \nExcerpt from the anonymous poem:  \n“This basin contains a draught from the spring of Kauthar, / (and) a calligraphy like a soul-stirring script written in a sweeping, all-embracing hand / Each man who drinks water from this basin / Will receive like Khidr a spirit-nourishing gift of (eternal) life / I even travelled to Thee at the feet of Love / And I saw, there two thousand black men spilling blood / Every one of them said, in the language of rapture / Jami / the goblet which you hold in your hand – do not pour it out too many times. / This bowl (*badiye*) contains a draught from the spring of Kauthar, / it contains good cheer, like the gift of pleasure from the beloved, / every man who drinks a draught of water from this bowl / will receive the blissful gift of (eternal) life like Khizr.”  \n  \nThe inscription in the medallion reads: “Its owner is Marzban, son of Nushirwan.”  \n  \nThree similar objects are found in London, Paris, and Moscow. This bowl is a version of the western Safavid *badiye* and is characterized by a higher, wider neck. The overall design of the *badiye* shows resemblance to other Iranian metalwork produced under Shah Abbas I.","type":"Bowl","holder":"MKG Museum for Applied Arts","dates":"Hegira 10th and 11th century / AD 16th and 17th century","location":"Hamburg","dimensions":"Height: 18cm, Diameter: 29.3cm","method_for_datation":"By comparison, with similar dated objects, of styles and their inscriptions.","method_for_provenance":"Purchased from G. Duseigneur, Paris.","provenance":"Western Iran","obtention":"Purchased in 1897.","bibliography":"Chirvani, A., *Islamic Metalwork from the Iranian World*, London: Victoria and Albert Museum, 1982: 331.","copy_editor":"Caitlin Link","keywords":["metalwork"],"materials":["black paste inlay","Tin-plated copper"]},"e1a51037-50b9-5b9f-b6f9-14347ed9505b":{"name":"Bottle","short_description":"Bottles like this one are characterised by an oval shape with a narrow neck and a low foot. Since it is found in many collections, it probably was a common object. This holds true not only for the shape but also for the decoration. It consists of round bosses in high relief around the opening, a ribbon around the neck with a cable pattern and, perhaps most typically, tear-shaped knobs on the body. These are arranged in three horizontal rows of five knobs and highlighted by a two-stepped execution. Melikian-Chirvani describes them as lotus buds, which were a common motif in the Samanid period. He also suggests that this type of decoration is reminiscent of Tabaristan silver objects.  \nAs with all bottles of this type the original use can only be estimated, though the best guess seems to be a perfume container. Its narrow neck and small size support this interpretation. Baer proposed that the bottles were filled through an open base, which was then closed by a plug. This bottle and many of the others from the Bumiller Collection feature no original base. Therefore they have probably also been filled by the method described above.  \nFrom all the comparable objects, two should be pointed out as especially similar. One is owned by the Victoria and Albert Museum and the other by the Keir Collection.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 2-3th century / AD 8th-9th century","location":"Bamberg","dimensions":"Height:  12.7cm, Diameter mouth: 2.1cm, Diametre body: 7.5cm","method_for_datation":"By stylistic analysis and through comparison","provenance":"Persian World","obtention":"Purchased from Hardt, Radevormwald in 1982","bibliography":"Baer, Eva, *Metalwork in medieval Islamic art*, Albany: State University of New York Press, 1983.  \nDahncke, Monika, Bumiller Manfred, Riederer, Josef, *Enghalsflaschen. Typologie frühislamischer Bronzen der Bumiller-Collection, Schriften des Museums für Frühislamische Kunst in Bamberg 5*, Bamberg/Wiesbaden: Reichert, 1997.  \nGeza Fehérvári, *Islamic metalwork of the eighth to the fifteenth century in the Keir Collection*, London: Faber and Faber, 1976.  \nHaase, Peter (ed), *Morgenländische Pracht. Islamische Kunst aus deutschem Privatbesitz, Ausstellung im Museum für Kunst und Gewerbe Hamburg, 18. Juni - 22. August 1993*, Bremen: Ed. Temmen, 1993.  \nMelikian-Chirvani, Assadullah Souren, *Islamic metalwork from the Iranian world, 8-18th centuries*, Victoria and Albert Museum catalogue, London: HMSO, 1982.","author":"Tamara Haller","copy_editor":"Daniel de la Vega","keywords":["bottle","knobs","metalwork","perfume","rose-water"],"materials":["Bronze","cast","forged"]},"e1d6b9a5-4a66-5ef8-abd0-a9bc65404594":{"name":"Candlestick","short_description":"A candleholder with broad, slightly flaring barrel-form base, short cylindrical stick with broad ribbed collar. The base has a primary decoration of an Arabic inscription in elegant *thuluth* script set against a background of arabesque design. The inscription may be translated as “Glory to our Lord, the lofty King, the Sultan, the magnificent, the wise, the just.” The remainder is decorated with engraved and inlayed arabesque and narrow bands of repeated designs. Some silver inlay remains and it is presumed that gold inlay once was present.","type":"Metalwork","holder":"Saint Louis Art Museum","dates":"Hegira First half 8th century / AD first half 14th century","location":"Saint Louis","dimensions":"Height: 28.6cm; Diameter of mouth: 8.3cm; Diameter of shoulder: 20cm; Diameter of base: 26cm","method_for_datation":"Scholarly review and/or comparison to similar objects from the period.","method_for_provenance":"Scholarly review and/or comparison to similar objects from the period.","provenance":"Iran, Asia","obtention":"Museum Purchase, 1926","bibliography":"Renard, John (ed), *Windows on the House of Islam: Muslim Sources on Spirituality and Religious Life*, Berkely: University of California Press, 1998.","keywords":["Alloy","Asia","Candlestick","Copper","inlay","Iran","metalwork","Persian","silver"],"materials":["Copper alloy with silver inlay"]},"e28848aa-7436-5518-abe8-0e71a1e0d924":{"name":"Weights.","description":"Bronze weights that are not inscribed but which have a variety of shapes and decoration, the typology includes: the barrel form, a truncated bi-conical shape; the polyhedral type, with sides cut into polygonal facets; the very common brick shape; and the square shape. They are often pierced in the centre for safe-keeping, to keep them together as a unit, and in order to carry them easily.  \n  \nThese bronze weights relate to two monetary systems: the values for the *dirham* (silver) and *dinar* (gold) coins. The stratigraphic contexts of the Aqaba weights give some idea about the variations seen in these weights; heavier weights are more elaborate, the lighter weights simpler. The heavier weights could have been used to weigh merchandise heavier than coins.","short_description":"Cast bronze weights from Ayla in Aqaba of a variety of shapes and decoration relating to two monetary systems: the values for the *dirham* (silver) and *dinar* (gold) coins. The heavier weights could have been for goods heavier than coins.","type":"Weight, metalwork","holder":"Aqaba Archaeological Museum.","dates":"Hegira first half of the 2nd century / AD first half of the 8th century.","location":"Aqaba","dimensions":"Height (in the range) 4–25 mm, width (in the range) 1.3–2.5 cm, weight (in the range) 2.1–149 g.","method_for_datation":"The weights were dated by their stratigraphic context and in relation to pottery shards found at the same site.","method_for_provenance":"The weights were recovered during an archaeological excavation in Aqaba, the original place of production is uncertain.","provenance":"Unknown.","obtention":"These weights were obtained during an archaeological excavation carried out in Aqaba in 1987–94.","bibliography":"Whitcomb, D., *Ayla: Art and Industry in the Islamic Fort of Aqaba*, Chicago, 1995, p.19.","linkcatalogs":"IAM_JO_EN_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","keywords":["bronze","Coin","Coinage","Commerce","incise","measuring instrument","numismatics"],"materials":["Moulded bronze."]},"e296b3c2-f867-5011-9976-324fcf013681":{"name":"Hammam bowl","short_description":"This bowl by its size, materials and design probably served as a water dispenser in hammam, a traditional Ottoman bath. Similar semi-spherical parcel-gilt silver vessels decorated in repoussé technique are often attributed as production by Balkan artisans of the AD 16th–17th centuries. Some of them are defined as drinking (wine) bowls for ecclesiastical and secular use. The Ottomans began to conquer Balkans in the 14th century. Rich silver mines of the region and the silver making tradition of the late Byzantine Empire fostered the development of Ottoman silverware. There is a peculiar detail in the design of the Khanenko Museum’s bowl. In the centre of the vessel an openwork gilt rosette is mounted on a pin with 5 cast figurines of birds applied above it. The rosette rotates. This made historians suggest that the device (and the bowl itself) was perhaps intended for splashing the flowing water as a kind of entertainment during hammam bathing rituals. The Khanenko Museum possesses three bowls of this kind, slightly different in design.","type":"Bowl; Metalwork","holder":"The Khanenko Museum","dates":"AD 16th–17th century","location":"Kyiv","dimensions":"Height: 4.5cm, Diameter: 13.5cm","method_for_datation":"Stylistic analysis by A. Ivanov (examination, date, origin), A. Makarevych (examination, 2018 date, origin and type of object specified).","method_for_provenance":"According to the entry in the old Museum Inventory Register (1925-1946).","provenance":"Ottoman Balkans (?)","obtention":"Purchased by Bohdan and Varvara Khanenko in Kyiv. Donated by Varvara Khanenko in 1918, nationalized by Bolshevik regime in 1919.","bibliography":"Hitzel, Frédéric (ed), *Turkophilia revealed. Ottoman Art in Private Collections*, Paris: Sotheby’s France, 2011.  \nRudyk, Hanna, \"Ottoman Collection in The Khanenko Museum\", *Chronicles-2000*, 1: 95 (2013): 479-495.  \nVyazmitina, M. (ed), *Mystetstvo krain islamu (Art from Islamic Countries)*, catalogue, VUAN Museum of Art, Kyiv: All-Ukrainian Academy of Sciences, 1930.","author":"Antonina Makarevych","copy_editor":"Janice Medina","keywords":["Balkans","bowl","metalwork","Ottoman","parcel-gilt","silver"],"materials":["cast","embossed (repoussé)","hammered","parcel-gilt","Silver"]},"e2a17074-8d98-5cbe-9a65-83b0164d6179":{"name":"Lamp","short_description":"This mosque lamp is one of the oldest extant metal lamps in the Islamic world. Older lamps of silver and gold existed, but they were melted down long ago. A glass bowl held the wick and oil.  \nThe lamp’s decoration consists of an openwork, scale-like pattern surrounding a text from the Koran written in monumental *Kufi* calligraphy decorated with foliage.","type":"Lamp, metalwork","holder":"The David Collection","dates":"Hegira 4th century / AD 10th century","location":"Copenhagen","provenance":"Iraq or Iran","keywords":["brass","kufic","Lamp","Mosque interior decoration"],"materials":["Openwork sheet brass"]},"e3d7b607-17ec-5a36-9ff3-137adbc8bfb5":{"name":"Oil lamp (*qindil*).","description":"This oil lamp consists of a circular hollow shaft screwed to a base in the form of a tray. The end of the shaft is topped by a crescent, having penetrated through an oil reservoir that is in the shape of a shell with six spouts, and a smaller tray underneath that allows the drops of oil to be collected. These last two features are surmounted by a small square plate that is perforated in each of its four corners for the attachments of small chains, at the ends of which would hang candle-snuffers, extinguishers and tongs. This particular example would have belonged to the *dey* of Algiers.  \nIn order to work this type of lamp, which was used to light the rooms in palaces, the reservoir was filled with oil, and a wick was lit once it was fully drenched with oil. The oil, being quite inflammable, would prevent the flame from rising up the whole length of the wick.","short_description":"Bronze oil lamp consisting of a rounded stem screwed to a base and crowned with a crescent. In the middle, there is a reservoir with six spouts and a small tray to catch drops of oil. Above this, accessories would hang from a square plate. This lamp would have belonged to the *dey* of Algiers.","type":"Metalwork, cast bronze","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 925–1245 / AD 1519–1830.","location":"Algiers","dimensions":"Height 151 cm, diameter of the base 36 cm.","method_for_datation":"The lamp, having been known as the 'chandelier of the *dey*', no doubt belonged to one of the *deys* who governed Algiers during the Turkish regency (1082–1246 / 1671–1830).","method_for_provenance":"From archaeological findings, which mention that this type of oil lamp was made in Italy on the demand of the *deys* of Algiers.","provenance":"Italy.","bibliography":"Institut du Monde Arabe, *L'Algérie en héritage, art et histoire*, catalogue, Paris, 2003.  \nMarçais, G., *Le musée Stéphane Gsell, musée des antiquités et d'art musulman d'Alger*, Algiers, 1950.  \nMarye, G., *Catalogue du Musée national des antiquités algériennes*, Part 2, Algiers, 1899.","author":"Leila Merabet","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["candle-snuffer","crescent","dey","oil lamp","Ottomans","qindil."],"materials":["Cast bronze."]},"e3f36ab1-bb2a-5793-ac55-177827b3e390":{"name":"Plate","description":"This enamelled bronze plate in the FBQ Museum shows the Cuerda Seca (dry cord) technique, a method of enamelling that emerged during the Seljuk period in Persia.  \nRenowned for its beauty and utility, enamelling serves both aesthetic and practical purposes, offering protection against corrosion while providing stunning decorative elements.  \nWhile both Cuerda Seca and the Persian Minakari technique are used in enamelling, they differ in their execution. In Minakari, the coloured enamel powders are applied directly onto the metal surface, resulting in smooth and continuous colour blending. In contrast, Cuerda Seca uses a greasy material to create boundaries between different enamel colours to prevent them from blending during firing, producing sharp motifs with clearly defined edges in various hues. Both techniques yield vibrant and decorative surfaces, showcasing the artistry and craftsmanship of enamelling traditions in the Islamic world.","type":"Metalwork","holder":"Sheikh Faisal Bin Qassim Al Thani Museum","owner":"His Excellency Sheikh Faisal Bin Qassim Al Thani","dates":"Hegira 12th century / AD 18th century","location":"Doha, Qatar","dimensions":"Diameter: 32cm, height: 1.5cm","place_of_production":"Syria","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, techniques, style, inscription, analogies and the provenance or historical background of the items.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, techniques, style, inscription, analogies and the historical background of the items.","provenance":"Syria","obtention":"Purchased","author":"Mahmoud Saber","copy_editor":"Judy Harter","materials":["Bronze","cuerda seca technique","enamel"]},"e5089d3e-3231-5064-9958-45c0890fde1c":{"name":"Ewer.","alternate_name":"The Blacas Ewer.","description":"A ewer with missing foot and spout, inlaid with silver and copper. The delicate inlay decoration covering the body and neck is exceptionally fine. A remarkable range of figurative scenes of contemporary court life is depicted in a series of medallions. The medallions are surrounded by a geometric pattern alternating with bands of inscriptions and figures. Men have covered heads and wear tunics with straight sleeves. Their costumes reflect the Turkish origin of the Zangid dynasty. The princes have ornamental tiraz bands around the sleeves of their robes. Soldiers have swords with straight blades and round buckles. Two noble women are depicted: one is shown looking in a mirror accompanied by an attendant; another is riding on a camel in a camel litter with a servant. A lute-player has the bottom of her face veiled. Other medallions depict a hunting scene with a man shooting an arrow at his prey; another hunter with a cheetah on the back of his horse; musicians, dancers and drinking revellers. There is even a scene from the Persian epic poem the Shahnama representing Bahram Gur shooting an arrow while Azadeh plays the harp on the back of his horse. Given the outstanding quality of the decoration and the scenes of courtly life the ewer was probably intended for use at court. The patron may have been Badr al-Din Lu'lu', who ruled Mosul (AH 629–59 / AD 1232–59), or a member of his court. A number of objects inscribed with his name reveal that he commissioned a number of metalwork objects. Although the technique of inlaid metalwork originated in Iran, new shapes were introduced in Mosul often inspired by Byzantine forms. Ibn Said, a Spanish Muslim, travelled all over Syria, Mesopotamia and Iraq in AH 648 / AD 1250. In his book, Geography, he mentions inlaid brass vessels made in Mosul that were exported and presented to various rulers. Therefore, Mosul metalwork with its glittering inlay had clearly gained sufficient status to compete with gold and silver.","short_description":"The craftsman of this exceptional ewer has signed his work stating he is from Mosul. Made from brass inlaid with silver, it is covered with figures performing many different activities that include playing music, drinking and hunting.","type":"Metalwork, decoration object, silver","holder":"The British Museum.","dates":"Hegira 629 / AD 1232.","location":"London, England","dimensions":"Height 30.4 cm, width 22 cm, depth 21.5 cm.","method_for_datation":"The ewer is inscribed with the date 629 (1232).","method_for_provenance":"An inscription describes the craftsman as 'Shuja ibn Mana al-Mawsili' (Shuja, son of Mana of Mosul). Therefore he was from Mosul where there was an active metalwork industry in the early 7th century / 13th century.","provenance":"Mosul, Iraq.","obtention":"The ewer is named after the Duc de Blacas whose collection was acquired by the British Museum in 1866.","bibliography":"L'Orient de Saladin au temps des Ayyoubides; exhibition catalogue, Paris, 2001, cat. no. 122, p.146.  \n  \nRice, D., \"Inlaid Brasses from the Workshop of Ahmad al-Dhaki al-Mawsili\", Ars Orientalis, 3, 1957, p.284–326.  \n  \nWard, R., Islamic Metalwork, 1993, p.80–2.","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["calligraphy","court life","engraving","figurative decoration","Figurative representation","hunting","inlay","inscription","metalwork","music","water","women","zangids"],"materials":["Brass engraved and inlaid with silver and copper."]},"e526eb1e-ddc2-59e1-a0dc-e487422d89de":{"name":"Pyxis","short_description":"Lidded containers, or pyxis, were used to hold writing instruments and other objects of value. The monumental inscription wrapped around this brass container is a dedication to an officer of a Mamluk sultan. Although it does not mention the person's name, it declares that they are “His exalted Excellency, the Possessor, the Holy Warrior, the Diligent, the High, the Just, the Defender”.","type":"Metalwork","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 800 / c. AD 1400","location":"Kuala Lumpur","dimensions":"Diameter max.: 12cm x 11.7cm","provenance":"Egypt / Syria","obtention":"It  was owned by Manuel Peiruza, based in Barcelona and London. He was a prominent collector of Chinese ceramics, Spanish pottery and Islamic metalwork. After the recession of 2007 he decided to sell his collection of 55 Islamic metalwork to IAMM through Amir Mohtashemi.","bibliography":"Heba Nayel Barakat, *Introduction to Islamic Arts - Calligraphy from the Collection of Islamic Arts Museum Malaysia*, Kuala Lumpur: IAMM Publications, 2008: 72-73.","materials":["Silver-inlaid copper alloy"]},"e608c729-04c2-56e1-b2e3-0064a245a0ed":{"name":"*Portrait of Historian, Márton György Kovachich*","description":"Messerschmidt was born in south-west Germany. After studying in Munich and Graz, he matriculated at the Academy of Fine Arts in Vienna in 1755. Having graduated, he was employed at the Imperial Arms collection. During the period 1760–69 his work followed the artistic style of the Late Baroque court, at that time under the determining influence of Balthasar Ferdinand Moll. From 1769, Messerschmidt's first Neo-Classical works appear and to which he applied the experiences of his study trip to Rome in 1765. In 1770–72, Messerschmidt began to work on his so-called *Character Heads*, obviously connected with certain paranoid ideas and hallucinations from which, at the beginning of the 1770s, the master began to suffer. After an unsuccessful application to the office of a leading professor at the Academy, in 1777, he settled down in Pozsony (Bratislava) where he dedicated himself primarily to his *Character Heads* and in addition made other portraits as well.  \nThe bust of Márton György Kovachich (1743–1821), a historian, a custodian of the Buda university library, and one of the most eminent scholars of the Enlightenment in Hungary, was the last of these commissions in Messerschmidt's oeuvre. Kovachich commissioned the portrait directly from the artist in Pozsony (Bratislava), a fact corroborated by a letter from Kovachich dated 1 May 1783, at which time the portrait was already standing in his room in Buda. Like the *Character Heads* the bust is made in the early Neo-Classical style preferred by Messerschmidt since 1769–70. His works of this period have an accentuated plainness, but nevertheless have a vigorous modelling and structure. The portraits have a timeless, monumental character enhanced by their firm portraiture, one marked by the face-on portrayal of his subject. These stylistic characteristics of the Neo-Classical aesthetic are, however, coupled with an exact portrayal of the sitter's features, so that Messerschmidt's portraits remain very close to a realistic appraisal of human individuality.","short_description":"Messerschmidt moved to Vienna and later to Pozsony (Bratislava) from Bavaria. He made his famous *Character Heads* in Pozsony (Bratislava) when he was mentally ill. All of them portray the features of the artist. The bust of the historian, Kovachich, was made by the artist at a time when he his mental health was good.","type":"Sculpture","holder":"Museum of Fine Arts","initial_owner":"Márton György Kovachich, University of Buda, Studio of Kovachich, Buda","dates":"1782","location":"Budapest, Közép-Magyarország / Central Hungary","dimensions":"H: 44 cm","place_of_production":"Buda","method_for_datation":"By historical documents","provenance":"University of Buda, Studio of Kovachich, Buda","obtention":"Purchased from a private collection in 1896","bibliography":"Pötzl-Maliková, M., *Franz Xaver Messerschmidt*, München, 1982, pp. 239–240.  \nPötzl-Maliková, M., “Cat. Nr. 187” in *Barokk művészet Közép-Európában. Utak és találkozások* (Crossroads: Baroque Art in Central Europe) exhibition catalogue, (ed. G. Galavics), Budapest, 1993.  \nKrapf, M., “Cat. Nr. 66” in *Franz Xaver Messerschmidt 1736–1783,* exhibition catalogue, (ed. M. Krapf), Wien, 2002.","author":"Zsuzsanna Boda (after Maria Pötzl-Maliková)","copy_editor":"Terézia Bardi","translator":"Tamás Sajó","translation_copy_editor":"Mandi Gomez","keywords":["Bratislava","Buda","education","Enlightenment","library","metalwork","Neo-Classicism","Pozsony","Pressburg","teaching","university"],"materials":["Tin cast"]},"e611ec53-5f2d-5423-80cd-6eeae8d49105":{"name":"Rectangular tray","short_description":"The depressed central part of this tray is of particular three-lobed shape on both broadsides. Its central feature, a pointed medallion, shows a fantastic creature. It is a winged serpent dragon that looks back with his mouth wide open facing another awesome dragon head growing out of his winding tail. The fields in the round lobes around the medallion are filled with the heads of felines just as the raised spandrels around the depressed area. The animals are elevated while their details are thoroughly punched and engraved. The fur is clearly visible, becoming an almost haptic appearance. The object is framed by a board-frame, which in turn is encircled by an elevated rounded edge. The frame bears an inscription alternated by elevated symmetrical foliate designs in the corners and on the long sides of the frame. The plant motifs are raised in simple repoussé. It seems that the master paid all his attention to the development of the zoomorphic motifs, leaving the foliage without any further elaboration of details. Also the inscription appears to be a simple repetition of a well-known sequence of letters. It is best readable on the right short side, reading *al-ʿizz al-da’im wa-l-iqbal* (lasting strength and fortune), a very common blessing on similar trays.  \n  \nRectangular table tops with repoussé décor are found among several collections and are dated between the 12th to 13th century. The dragon motif suggests a date after the Mongol invasion into the Khanat of Khwarezm in 1220, when far Eastern motifs were spread by the new rulers.  \nIn general, the depression of these table tops is formed in the shaped of an elongated octogon. The lobed short sides, with a pointed lobe between two rounded ones on both sides, is more common on square inlaid table tops of the 13th century (Keir Collection No 77, Louvre, MET 56.144). The most similar form appears in a tray from the Kalaibaland treasure in Tajikistan.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 7th century / AD 13th century","location":"Bamberg","dimensions":"Height: 3.0cm, Length: 33.0cm, Width: 22.8cm","method_for_datation":"The dragon is a far eastern motif that came to Central Asia with the Mongol invasion in 1220.","method_for_provenance":"Repoussé decorated table tops are found in several collections, among them the Herat Museum in Afghanistan and in excavations such as in Kalaibaland in Tajikistan. These finds point to an origin in eastern Khorasan.","provenance":"Khorasan","obtention":"Purchased at Christie’s in 1989","bibliography":"Franke, Ute and Müller-Wiener, Martina (eds), *Herat through time. The collections of the Herat Museum and Archive / Harāt dar ṭūl-i tārīḫ ; maǧmūʿa-i āṯār-i Mūziyum wa Āršīf-i Harāt, Ancient Herat research reports of the German-Afghan Archaeological Mission to Herat, Afghanistan*, Vol. 3, Berlin: Editor General, 2016: 133f, Cat. No. M112.  \nGeza Fehérvári, *Islamic metalwork of the eighth to the fifteenth century in the Keir Collection*, London: Faber and Faber, 1976: 72f., No. 78, Pl. 25a.  \nYakubov, Yu., “Tajikistan”, in Shahin Mustafayev (ed), *The Artistic Culture of Central Asia and Azerbaijan in the 9th-15th Centuries*, vol. III, ed. by The International Institute for Central Asian Studies, Samarkand-Tashkent: Toreutics, 2012: 123-166, Fig. 2.2.","author":"Verena Daiber","copy_editor":"Daniel de la Vega","keywords":["dragon motif","household equipment","metalwork","table top"],"materials":["Bronze metal sheet with repoussé","punched and engraved decoration"]},"e644ef1f-80d7-52bf-aa24-7ee45fbf092e":{"name":"Ewer","description":"The handle is ornamented, while the body is flattened on the sides and decorated with engravings. The lateral surfaces feature geometric motifs within a border, while animal depictions are present in the center. The object stands on a base.","type":"Ewer","holder":"Şanlıurfa Museum Directorate","location":"Şanlıurfa","dimensions":"Height: 33.5cm, width: 16cm","place_of_production":"Şanlıurfa","copy_editor":"Alvaro Miranda","keywords":["bronze","calligraphy","ewer","water"],"materials":["Bronze","cast"]},"e76dd0c9-2da5-504f-bb1b-e1aa38d9c4b4":{"name":"*Huqqa* (water pipe) base","short_description":"Water pipe base of typical bell shape, decorated with a dense grid of star-shaped motifs covering the body and neck and bands of floral designs around the base and shoulders.  \nBidriware originates from Bidar, Central India, a production centre since 14th century continuing to the present day.","type":"Water pipe","holder":"Sharjah Museum of Islamic Civilization","dates":"Late 13th century AH / late 19th century AD","location":"Sharjah","dimensions":"Height: 20cm, Diameter base: 16.5cm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Bidar, India","obtention":"Purchased","author":"Hazelle Page","materials":["inlaid silver","Zinc and copper alloy"]},"e967434e-06ff-5cc3-88d8-9786fd216273":{"name":"Spout","description":"This bronze spout, dated to the AH 13th / AD 19th century Ottoman period, features a stylized lion’s head and was used as a fountain nozzle in the water pools of Alevi–Bektaşi lodges in Anatolia.  \n  \nIn Alevi–Bektaşi symbolism, the lion represents Ali, embodying courage, spiritual authority and protection. Such zoomorphic forms were integrated into ritual architecture to express sacred meaning while enhancing the aesthetic and symbolic character of lodge water features. The object’s date and typology were identified by experts from the Istanbul Museum of Turkish and Islamic Arts.","type":"Spout","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 13th century / AD 19th century","location":"Istanbul","dimensions":"Height: 18cm, width: 16cm","place_of_production":"Anatolia","method_for_datation":"Determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","method_for_provenance":"It was determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["bronze","Fountain.","Ottoman","spout","water"],"materials":["Bronze"]},"e9860dcd-6e70-574d-9bd8-9f806ad37335":{"name":"Buckle for enlisted rank of the Austro-Hungarian gendarmerie in Bosnia-Herzegovina","description":"This characteristic metal buckle with the coat of arms of Bosnia and Herzegovina was used by all enlisted ranks of the Austro-Hungarian gendarmerie in Bosnia-Herzegovina, which maintained domestic order in these two provinces. The main deployments of the gendarmerie were in the regions of Sarajevo, Travnik, Banja Luka, Bihac, Tuzla, Mostar, Trebinje and Gorazde.","type":"Metalwork","holder":"Austrian Military Museum / Institute of Military History","dates":"End of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega"},"e9c5beea-7b03-51e8-b84e-0256603ce14d":{"name":"Plate","short_description":"The mauresque ornament covers the entire display side of the plate in evenly-spaced arrangement. An armorial shield is seen in the middle. The plate by Nicolò Greco belongs to the tradition of diverse brass receptacles with related ornamentation, produced by metal craftsmen in the Mediterranean region for the Oriental and European market. Another plate signed by him is in the British Museum collection in London (MLA 1855.12-1.3). Since we know very little about the artist’s life— he was working in Rome in 1542 —an exact identification of the plate’s provenance is not possible.","type":"Metalwork","holder":"MAK – Museum of Applied Arts","dates":"AD 1550","location":"Vienna","dimensions":"Diameter: 48.5cm","provenance":"Mediterranean region","obtention":"Purchase","bibliography":"Carboni, Stefano (ed), *Venezia e l’Islam 828 – 1979*, catalogue Palazzo Ducale, Venice: Marsilio, 2007: cat. nr. 96, Abb. page 19.  \nKohlhaussen, Heinrich, *Europäisches Kunsthandwerk. Renaissance und Barock*, Frankfurt: Umschau, 1972: Abb. 34.  \nNoever, Peter (ed), *Global Lab. Kunst als Botschaft. Asien und Europa 1500 - 1700. Ausstellung Museum für angewandte Kunst Wien, 03. Juni bis 27. September 2009*, Ostfildern: Hatje Cantz, 2009: 348, nr. 183.  \nRogers, J.M. and Ward, R.M. (eds), *Süleyman the Magnificent*, catalogue, London: British Museum, 1988: 112, nr. 47.","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-20397","author":"Anne Rossberg","keywords":["brass","Nicolò Greco","Plate"],"materials":["Brass with decoration in niello-technique"]},"ea1f55bf-b075-5e73-a04a-db3e93d8bff2":{"name":"Revolver","alternate_name":"Nikittis Erben revolver","description":"According to the engraving on the barrel, this revolver was manufactured by J. Nikittis Erben in Constantinople. Erben was a revolver-maker and retailer who sold Colt firearms. Another engraving also reads \"\"POUCARTOUCHE NAGANT\"\". The serial number was engraved on the left side of the revolver right under the cylinder. Only the last two digits (76) can be seen. The revolver is fitted with wooden grips and fixed to the frame by a screw. This  \nrevolver is similar to the Swiss revolver of 1882, but not identical. It might be a variation of that revolver.","type":"Handgun; arms; firearms","holder":"Jordan Folklore Museum, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"Turkey, Istanbul","author":"Mohammad Najjar","copy_editor":"Daniel de la Vega"},"ea2bfceb-f646-51a6-bd3b-36884a93128f":{"name":"Water pipe (*qalyan*)","short_description":"The ceramic body, with two openings, recalls the shape of the so-called *kendis* (Chinese pouring vessels with a long neck and a spout), exported ever since the beginning of the Ming dynasty (1368-1644), and which were briefly copied by Persian potters. It was probably in the nineteenth century that this *kendi* was fitted with a silver mount and turned into a water pipe (Pers. *qalyan*), thus making its thorough examination impossible. However, the visible areas provide relevant information which allows for a pertinent stylistic assessment and a meaningful comparison with similar examples. The Chinese-style underglaze decoration, painted in two shades of blue and outlined in black, is placed in five compartments, four of which feature animals and birds against a lush vegetal background. The Chinese-type mark painted on the base is reminiscent of other marks used on Persian *kendis*.","type":"Ceramics and metalwork","holder":"The National Museum of Art of Romania","dates":"Hegira first half of the 11th century / AD first half of the 17th century (ceramic body); Hegira 13th century / AD 19th century (?) (silver mount)","location":"Bucharest","dimensions":"Height: 47.5cm","method_for_datation":"Based on two examples in the collection of the Victoria and Albert Museum, London: inv. no. 592-1889, dated AH 1051 (AD 1641), and inv. no. 460-1888, dated AH 1037 (AD 1627).","method_for_provenance":"Comparison with related works","provenance":"Iran","obtention":"Transferred in 1948 from the National Museum Carol I in Bucharest.","bibliography":"Crowe, Y., *Persia and China: Safavid Blue and White Ceramics in the Victoria and Albert Museum, 1501-1738*, London: Thames & Hudson, 2002.  \nDunca, M., “Persian Art in Romania before World War I”, in Y. Kadoi and I. Szántó (eds), *The Shaping of Persian Art: Collections and Interpretations of the Art of Islamic Iran and Central Asia*, Newcastle-upon-Tyne: Cambridge Scholars Publishing, 2013: 38, fig. 1.4., no 47.  \nDunca, M., *Islamic Art at the National Museum of Art of Romania*, Bucharest: National Museum of Art of Romania, 2015: 88, no. 37.","author":"Mircea Dunca","keywords":["Qalyan"],"materials":["engraved","Fritware","openwork decoration","silver mount","underglaze painting"]},"ea3c2d2f-f5da-506a-90f2-dbad5e9cdca3":{"name":"Spout","description":"This stylised animal-figured spout was completed a fountain placed in a garden or indoor pool.","type":"Spout","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 7th-8th century / AD 13th-14th century","location":"Istanbul","dimensions":"Width: 30cm, height: 33cm","place_of_production":"Persia","method_for_datation":"Determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","method_for_provenance":"It was determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["bronze","Seljuqs","spout","water"],"materials":["Bronze"]},"ea3d8d8e-c04b-5794-9b49-13d8075523c6":{"name":"Spouted bowl (*sahlah bu mirzab*)","description":"Bowls are among the most important copper artifacts in Omani hospitality. They are usually either wholly circular or circular with a channel and include various decorative designs. They may serve to either hold the cups in which Omani coffee is served, or as basins for guests to wash their hands.","type":"Metalwork, copper","holder":"The national Museum - Sultanate of Oman","dates":"Hegira 14th/AD 20th century","location":"Muscat, Sultanate of Oman","dimensions":"Length (with spout): 31.5cm, height: 11cm, diameter: 19cm","provenance":"Northern Oman","author":"Noora Al Balushi","copy_editor":"Alvaro Miranda","materials":["copper"]},"eb9313ce-3a64-5d73-bea2-13a7a7012be8":{"name":"Magic cup","description":"The bowl is lined with inscriptions inside and out – verses from the Koran, the most beautiful names of God, religious and talismanic expressions – alternating with magic squares. On the outer perimeter, images of the zodiac and planets engraved inside medallions were scrupulously obscured at a later date with floral motifs, no doubt in order to avoid the association of the Koranic text with representations of living creatures.  \nConsuming drinks or food in such cups, thus closely connecting religion, medicine, and astrology, permitted one to resist the effects of poisons, fevers, and other physical ailments. *The Thousand and One Nights* invoked a divinatory purpose too.","type":"Metalwork","holder":"Museum of the Arab World Institute","initial_owner":"Marcel Destombes","dates":"Hegira 11th - 1st quarter of 14th century / AD 17th and 19th century","location":"Paris","dimensions":"Height: 8.5cm, Diameter: 22.7cm","provenance":"India","obtention":"Bequest of Marcel Destombes.","bibliography":"Delpont, E., et al., *Album du musée*, Paris: Somogy éditions d'art, 2012: 295.  \n  \nRoux, J-P., *Arts de l'Islam: des origines à 1700*, Paris: Musée national de l'Orangerie, 1971: 112.  \n  \nWelch, A., *Calligraphy in the arts of the Muslim world*, Austin: University of Texas Press, 1979: 186-187, Fig. 80.","translator":"Judy Harter","materials":["Cast and chiseled brass"]},"ec6884a5-10bb-5f2d-a512-2a4dc076e53b":{"name":"Basin of Badr al-Din Lu’lu’","short_description":"The tradition of richly engraved and inlaid brassware with décor combining floral and geometric ornament, calligraphy, and figurative imagery developed in Khorassan in the 12th–early 13th century. Starting from the 1220s the technology and style moved westwards, particularly to Mosul, located in Jazeera (northern Iraq).  \nAn outstanding work by a Mosul artisan is this large basin made for Badr al-Din Lu’lu’, who ruled in Mosul between 1223–59. The inside surface of the piece is densely covered with engraving and silver inlay (now mostly lost) featuring courtly scenes together with symbols of planets and other celestial bodies, as well as signs of the Zodiac. A geometric ornament characteristic of Mosul metal ware makes up the background.  \nThe Arabic inscription running along the edge of the basin is of a special historical significance. The inscription given in the form of rhythmic prose lists titles and merits of Badr al-Din Lu’lu’ as a ruler and a pious Muslim. Among a few other famous inscriptions dedicated to Lu’lu’ this one is the longest and the most informative. Certain titles within the inscription allowed researchers to date the basin more precisely, to the last decade of Lu’lu’s reign, 1249–59.","type":"Metalwork; Calligraphy; Basin","holder":"The Khanenko Museum","dates":"AD 1249–1259","location":"Kyiv","dimensions":"Height: 17cm, Diameter (rim): 56cm","method_for_datation":"Stylistic analysis and inscription reading by V. Krachkovskaya (publication, 1947, date, origin).","method_for_provenance":"Publication of Vera Krachkovskaya (1927): the Khanenkos' collection. Proven by the entry in the old Museum Inventory Register (1925-1946).","provenance":"Mosul, Iraq","obtention":"Purchased by Bohdan and Varvara Khanenko. Donated by Varvara Khanenko in 1918, nationalized by Bolshevik regime in 1919.","bibliography":"Krachkovskaya, V., \"Inscription on the bronze basin of Badr Ad-Din Lulu\", *Epigrafika Vostoka (Epigraphy of the East)*, 1 (1947): 9-22.  \nKrachkovskaya, V., \"Musulmsnskoye iskusstvo v sobranii Khanenko (Muslim Art from the Khanenkos' Collection)\", in Bartold V.V. (ed), *Zapyski Kollegii Vostokovedov (Notes of the College of Orientalists)* at Asian Museum of USSR Academy of Sciences, Vol II, Leningrad: USSR Academy of Sciences, 1927.  \nRice, D. S., \"The Brasses of Badr al-Din Lulu\", *Bulletin of School of Oriental and African Studies*, 13 (1951): 627–34.  \nRuby, J. \"The Principle of Parsimony and the Problem of the ‘Mosul School of Metalwork’\" in V. Porter and M. Rosser-Owen (eds), *Metalwork and Material Culture in the Islamic World: Art, Craft and Text, Essays*, London: I.B. Tauris, 2012: 11-86.  \nWard, R., *Islamic Metalwork*, London: British Museum Press, 1993.","author":"Antonina Makarevych","copy_editor":"Janice Medina","keywords":["Atabeg","Badr al-Din Lu’lu’","Basin","brass","Iraq","metalwork","Mosul","silver inlay"],"materials":["brass","chased","engraved","hammered","inlaid with silver"]},"ecbfd555-c941-5154-8936-9832dbbd13cf":{"name":"Bowl","description":"The brass apodal bowl features an exterior decoration with a dense vegetal weave and large inscriptions in thuluth on a foliate background, interrupted by circular medallions with peonies.  \nThe inner base of the cup is decorated with a school of engraved fish following a circular pattern and a potentiated cross, the latter likely added when the object arrived in Europe.  \nThe inscription reads: \"The high, lordly, sovereign, wise, active, just, ordering, zealous, Treasure, Help, Support, Assisted, \\[official\\] of Al-Malik an Nasir, may his victory be glorious.\"  \nThe epigraph follows the typical formula of Mamluk protocol for high-ranking figures. Although neither his name nor his specific function are indicated, the inscription suggests that the owner was an official of Sultan al-Malik al-Nasir al-Din Muhammad ibn Qulawun. This is the sultan who owned the large Borgia Collection Basin, also in the museum's collections. From this, it can be deduced that the bowl was made by 1341, that is, during the sultan's lifetime, according to the customary formula used in the inscription, which ends with the phrase \"may his victory be glorious.\"  \nThe bowl, as also underscored by the decorative motif of engraved fish within, was used to hold drinking water or for ritual purposes.  \nThe bowl entered the museum collections thanks to Mario De Ciccio's donation to the Italian state in 1958, consisting of 1,300 pieces. These primarily consist of applied art objects from various periods and typologies, collected by the collector over a period of over 50 years, first in Palermo, his hometown, then in Naples, his adopted home since 1906, and also on the most highly regarded international art markets.","type":"Bowl","holder":"Museo e Real Bosco di Capodimonte","initial_owner":"Collezione Mario De Ciccio (until 1958)","dates":"AH First half of the 8th century / AD First half of the 14th century","location":"Naples","dimensions":"Height: 9cm, diameter: 13,6cm","place_of_production":"Syria or Egypt","obtention":"Donated to the museum in 1958.","bibliography":"Scerrato, U., *Arte islamica a Napoli: Opere delle raccolte pubbliche napoletane* , Naples: Istituto Universitario Orientale, 1967.  \n  \nVanoli, A., *Acqua, Islam e arte. Goccia a goccia dal cielo cade la vita*, Milan: Silvana Editoriale, 2019.","keywords":["bowl","collezione mario de ciccio","Museo e Real Bosco di Capodimonte"],"materials":["Brass with inlaid decorations in silver and gold"]},"ed60638d-d98c-52c9-b631-d363eb97fb51":{"name":"*Jineta* Sword.","description":"Sword consisting of a steel hilt and double-edged blade with a superficial axial groove up to the middle, bearing its hallmark beside two four-pointed stars, probably Nasrid but of unknown origin. The hilt, made of brass, is formed by a spherical pommel with obverse and reverse circles, with a button at the end; a hilt that widens in the middle; a hollow quillon (arms of cross guard) with a poly-lobed upper profile and arms finished in the shape of a hook with fretwork circles on the outside. The niello decoration consists of intertwined circular bands that are superimposed on other longitudinal and traversal bands with inscriptions alluding to God. The intermediate spaces are filled with plant arabesques on the hilt and palmettes on the quillon. Small oblique damascene lines in gold make up the background of the whole piece. The scabbard, lost at an unknown time, would have had the same decoration, judging by the unfinished circles on the arms of the quillon.  \nSurviving Andalusian armaments are rare and a set of Nasrid swords known as *jinetas* is particularly noteworthy. Their importance lies as much in the originality of their hilts, without equal in the period, as in the fact of being a genuine Nasrid production of luxury arms. This piece, while still a sumptuary object, belongs to a variety whose decoration, based in brass and niello, lacks the richness that characterises other *jineta* swords made of ivory or enamel.","short_description":"Swords with horseshoe-shaped quillons were known as *jineta* swords. The hilts were usually made of precious metals and richly decorated, accentuating their value as symbols of prestige. This piece, with its brass and niello hilt, was a luxury item but is not as rich as other *jineta* swords.","type":"Sword, arms, armours","holder":"National Archaeological Museum.","dates":"Hegira 9th century / AD 15th century.","location":"Madrid","dimensions":"Length 140 cm, width of blade 4 cm, length of quillon 10 cm.","method_for_datation":"Several similar pieces are in existence. One of them, acquired in Granada in 1812 by the National Library in Paris, preserves the motto of the Nasrid dynasty: 'Only God is victorious'. The other examples, which can be found in various museums and institutions as well as in private collections, also date from the 9th / 15th century.","method_for_provenance":"There are no details about how the sword was moved from Andalusia to León. Before it was donated to the National Archaeological Museum, the sword was held by the image of the patron saint of the church of San Marcelo. However, this type of sword was produced exclusively during the Nasrid reign in Granada.","provenance":"Kingdom of Granada, Spain.","obtention":"The sword was donated to the National Archaeological Museum by the parish priest of the church of San Marcelo (León), as a result of the mediation of Rodrigo Amador de los Ríos, on 20 September 1869.","bibliography":"Ferrandis Torres, J., “Espadas Granadinas de la Jineta”, *Archivo Español de Arte*, XV, Madrid, 1943, pp.142–66.  \nFranco Mata, A., “Espada de Jineta Nazarí”, in *Los Reyes Católicos y la Monarquía de España*, Granada, 2004, pp.552–3, no. 240.  \nSoler del Campo, A., “Espada Jineta”, in *Arte y Cultura en Torno a 1492*, Seville, 1992, pp.159–60, no. 74.  \nSoler del Campo, A., “Espada Jineta”, in *La Paz y la Guerra en la época del Tratado de Tordesillas, Madrid, 1994, p.319, no. 255.*","author":"Ángela Franco","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["armours","arms","Granada","military object","Nasrids","weapon","weaponry"],"materials":["brass","cast","damascene.","Gold","nielloed","Silver","steel"]},"ee1f0807-ca9d-507c-adf4-27f446a10f42":{"name":"Statue of Athlete – Ephesos","description":"After competitions in the *palestra* (sports arena), it was customary for the athletes to clean the sand from their oiled bodies with a strigil, or scraping iron. The Ephesian athlete seen here has already finished this task and – with his hair still soaking in sweat – is cleaning the strigil itself. This statue cannot be attributed to any Greek artist with certainty, yet Roman reproductions in marble and depictions on pottery reliefs and engraved stones speak to a high degree of familiarity with the original.","type":"Sculpture","holder":"Kunsthistorisches Museum, Collection of Greek and Roman Antiquities","dates":"2nd century AD (copy after a Greek original from the last quarter of the 4th century BC); found in 1895","location":"Vienna","provenance":"Ephesos","copy_editor":"Daniel de la Vega"},"ee7b7bd6-50bf-52d7-91be-0e545a0d41c3":{"name":"Sarcophagus of Count Emerik Erdödy","description":"The sarcophagus-shaped pewter casket of Count Emerik Erdödy – in the crypt of the side chapel of St. Anthony of Padua in the Franciscan Church in Klanjec – rests on the backs of four stags placed at each corner, with two outspread-winged eagles withholding the weight of the central part. On the front is the coat-of-arms of Emerik Erdödy. At each side, lace-like ornamentation surrounds a cartouche in relief, with an inscription, lion's heads with rings, and skull and crossbones.  \nIn design and iconography, the sarcophagus shows the mature Baroque spirit expressed through the splendid workmanship and vivid imagination of the master who made it.  \nThe skull and crossbones motif was used as a symbol of transience and a reminder of the emptiness of earthly matters.  \nIconographically, the stag symbolises pious solitude, a pure life, and the Eucharist but here the stag is purely decorative. This is probably because it was a device used in Erdödy's coat of arms, and Emerik's nephews – having commissioned the sarcophagus – may have thought it fitting to use the stag whose large antlers, with seven points, may symbolise the seven decades of Emerik's life.  \nThe use of animal figures taken from a family's coat of arms was common, and they appear often as the casket bearers of the deceased. For example, two-headed, outstretched-winged eagles carry the sarcophagus of Empress Margarita Theresa Habsburg (Capuchin crypt in Vienna), a heraldic motif that appears on the Habsburg coat of arms. Furthermore, eagles were a common feature of funereal architecture at the turn of the 17th century.  \nEmerik's sarcophagus has many features in common with the Habsburg sarcophagi in the Capuchin crypt.  \nIt was usual for prominent people to have ceremonial funerals, from the setting of the rite to the appearance of the tomb. Modelling themselves on the imperial family, the families of magnates followed this trend, as seen here in the Erdödy sarcophagus. Its ornate appearance – with emphasis on the decorative effects placed *inside* the tomb – was a reflection of the family's great wealth. Erdödy's close cultural link with Vienna the capital, is expressed in the design and motifs of the sarcophagus attributed to the circle of the renowned 17th-century Viennese pewterers, very probably Johann Philipp Stumpf, who was the designer for Empress Eleonora Maria's (d. 1697) sarcophagus, which rests on four lions.","short_description":"The sarcophagus of Count Emerik Erdödy, (d. 1690), rests on the backs of four sitting stags in the crypt of the side chapel of St. Anthony of Padua in the Franciscan Church in Klanjec, which the Croatian branch of the Erdödys built in the 17th century.  \nThe design of the sarcophagus with sitting stags is unique, but there is a degree of an analogy with Empress Eleonora Maria’s (d. 1697) sarcophagus, which, similarly, rests on the figures of four lions, and which the Viennese pewterer, Johann Philipp Stumpf designed.","type":"Sarcophagus","holder":"Franciscan Monastery","initial_owner":"Franciscan Church and Monastery in Klanjec","dates":"1690","location":"Klanjec, North-West Croatia","dimensions":"Length 218 cm","place_of_production":"Vienna","method_for_datation":"From archive data and evidence on the sarcophagus still *in situ*; concerning its maker, according to the Viennese restorer, J. Ziegler, who restored the sarcophagus in 1998, it is the work of Johann Philipp Stumpf from Vienna.","provenance":"Erdödy family, Franciscan Church and Monastery in Klanjec","obtention":"In 1981, the Museum's Regional Collection was founded as part of the monastery complex to show works connected with the religious heritage of the Franciscan Monastery and Church in Klanjec. The sarcophagus is *in situ*.","bibliography":"Horvat, A., *O metalnim sarkofazima u Klanjcu* (Concerning Metal Sarcophagi in Klanjec), Zagreb, 1982.  \nVelicogna-Novoselec, M., *Kositreni sarkofazi obitelji Erdödy u Klanjcu* (The Pewter Sarcophagi of the Erdödy Family in Klanjec), Zagreb, 2007.","author":"Nela Tarbuk","translator":"Nikolina Jovanović","translation_copy_editor":"Mandi Gomez","keywords":["Cenotaph","eagle","Erdödy family","funerary object","Heraldry","inscription","metalwork","pewter","tomb"],"materials":["Tin and lead alloy"]},"efef0d6f-3f4f-5566-89c1-caa1ae554c20":{"name":"Spout (*Horhor lüle*)","description":"This bronze spout, known as a '*horhor lüle*' in traditional water terminology, dates to the AH 6th-7th / AD 12th–13th century Seljuq period and was used in street fountains where water flowed continuously without a stop mechanism. Its form features a stylised dragon figure, a powerful animal motif widely employed in Roman and Seljuq art as a symbol of strength, protection and divine force.  \n  \nIn belief systems of the era, objects decorated with such motifs were thought to transfer this protective power to their users and surroundings. As Islamic artistic conventions evolved, especially in the Ottoman period, figurative animal motifs were gradually replaced with vegetal and geometric designs due to religious preferences. This spout exemplifies both the aesthetic language and symbolic worldview of its time, embodying the transition from mythic animal imagery to the more abstract ornamentation of later periods.","type":"Spout","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 6th–7th century / AD 12th–13th century","location":"Istanbul","dimensions":"Height: 4.3cm, length: 14.3cm","place_of_production":"Anatolia","method_for_datation":"Date of production was determined by Islamic metal artefacts expert Güner Liman.","method_for_provenance":"Its date was determined by Islamic metal artefacts expert Güner Liman.","provenance":"Tokat","obtention":"Purchased from Istanbul *Cevahir Bedesten* ('Grand Bazaar').","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["bronze","Seljuqs","spout","water"],"materials":["Bronze"]},"f0a22720-4486-5cd9-b830-526d7c53d494":{"name":"Kettledrum.","description":"The kettledrum is of hemispherical form and has a flat base. In the plain zone below the upper edge there are four rectangular loops with 16 protuberances in between serving to fix the drumhead, which is now missing. The decorated surface of the kettledrum consists of two zones. Both show medallions alternating with oblong panels on a background of a Y-pattern. The panels of the central zone contain a bold *naskhi* inscription against a background of arabesques. The text consists of nine nouns expressing praise and good wishes, without referring to the owner or mentioning his name. The medallions are filled with arabesques and whirling motifs. The oblong panels in the zone towards the base of the kettledrum show a *kufic* inscription of unknown content. The eagles with heads turned to the left and claws grasping the tips of the wings show the typical form of this bird used as an emblem by the Mamluk amirs. The emblem is repeated twice on the flat base on either side of a rectangular loop.  \nThis kettledrum was probably used in falconry to call the falcon back to the owner.","short_description":"Kettledrum of hemispherical form and with a flat base. The loops below the upper edge served to fix the drumhead. It is decorated with panels containing an inscription and medallions filled with arabesques and whirling motifs. It was probably used in falconry to call the falcon back to its owner.","type":"Kettledrum, metalwork","holder":"Royal Armoury.","dates":"Hegira first half of 8th century / AD first half of 14th century.","location":"Stockholm","dimensions":"Height 15.5 cm, diameter 27 cm.","method_for_datation":"Lamm (see Bibliography) dated the kettledrum to the first half of the 8th / 14th century.","method_for_provenance":"As a place of manufacture Lamm (see Bibliography) suggests Cairo, but he does not give a reason.","provenance":"Possibly Cairo, Egypt.","obtention":"The kettledrum was bought from the art collector Carl Robert Lamm by the Royal Armoury in 1922. In 1899, Lamm acquired it from F. R. Martin who had bought the kettledrum in Cairo during his journey through Egypt and Turkey in 1895–6.","bibliography":"Brisch, K. (ed.), *Islamische Kunst: Loseblattkatalog Unpublizierter Werke aus Deutschen Museen*, 2, Mainz, 1985, cat. no. 286.  \nLamm, C. J., “A Falconer's Kettledrum of Mamluke Origin in Livrustkammaren”, *Livrustkammaren: Journal of Armoury*, 1953, VI, 5–6, 80–94.  \n*L'Islam dans les Collections Nationales*, Exhibition catalogue, Paris, 1977, cat. no. 422.","linkcatalogs":"IAM_EG_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["figurative decoration","floral decoration","hunting","metalwork","writing"],"materials":["Bronze","cast","engraved","inlaid.","Silver"]},"f1004103-36c5-5a6a-a73a-16b1705a3c92":{"name":"Door knocker","short_description":"This sculptured master piece is dominated by a lion’s head in whose jaws hangs a combination of a handle and a knocker - a ring embellished with a cock. The *Kufi* inscription on a black niello ground proclaims the Muslim profession of faith: “In the name of God, the Merciful, the Compassionate. I testify that there is no god but God and that Muhammad is the messenger of God.”","type":"Door knocker metalwork","holder":"The David Collection","dates":"Hegira 5th century / AD 11th century","location":"Copenhagen","provenance":"Southern Italy","keywords":["bronze","Door knocker","Fatimid","kufic","lion","Metal work"],"materials":["Cast and engraved bronze","inlaid with niello"]},"f12fed73-12b9-5991-a430-4273cea32560":{"name":"Revolver","alternate_name":"Belgian Liege revolver","description":"A Liege/ Belgium manufactured revolver. Some of these revolvers were produced in Liege by the Leon Nagant factory for the Russian army between 1895 and 1898 (The Belgian Contract Revolvers), but some other revolvers of this type were produced in Russia itself (Tula) after that. The revolver is fitted with chequered grip plates that are fixed to the frame with a screw installed in a round steel insert. On the left side of the revolver the word Liege was engraved preceded by two illegible words. Only the last letter S can be clearly seen. Right under the word Liege two words were completely erased. On the barrel from the right side of the revolver a crowned oval with the letter R in the middle was engraved. Under the oval a star with what might be a letter g is engraved. The same letter is repeated on the frame at the base of the barrel.","type":"Handgun; arms; firearms","holder":"Jordan Folklore Museum, Department of Antiquities","dates":"Late 19th century – early 20 century","location":"Amman","provenance":"Belgium, Liege","author":"Mohammad Najjar","copy_editor":"Daniel de la Vega"},"f1d77f7e-6443-57ea-afae-e1c14d5c620a":{"name":"Incense burner","short_description":"The body is decorated by a frieze at the centre of which is an enthroned figure. To his left and right are attendants, each holding an object is his hand, perhaps a sign of office. The frieze is interrupted by three roundels, two of which bear musicians. A handle, now missing, was attached to the third. The frieze of paired huntsmen on the lid is interrupted by three roundels, one with a cross-legged princely figure and two with musicians. The legs bear two-headed eagles.  \nThe incense burner belongs to a group of some 50 known cast brass examples of similar shape and dimensions, the earliest of which is the Keir Collection and bears the name of the Ayyubid sultan al-‘Adil II (r. 1238–1240).  \nThe shape is vey similar to an incence burner in the British Museum (inv. no.1878,1230.678) which is dated AH 641 (AD 1243–4) and attributed to Mosul.","type":"Metalwork; incense burner; silver inlay","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"AD mid-13th century","location":"London","dimensions":"20 x 10.5cm","method_for_datation":"Date and provenance are based on comparisons with similar dated examples.","provenance":"North Syria, the Jazira","obtention":"Victor Martin Le Roy; Jean-Joseph Marquet de Vasselot; and by descent through the de Vasselot family.  \nSotheby’s, London, sale of 8 October 2008, lot 146.","bibliography":"Spink, M., *Brasses, Bronze and Silver of the Islamic Lands*, London: The Nasser D. Khalili Colletion of Islamic Art, volume 11, Part Two. \\[In preparation / forthcoming\\]","author":"Nahla Nassar","keywords":["Ayyubid","brass","cast brass","eagles","inlay","Mamluk","Mamluk art","metalwork","musician","silver","Syria"],"materials":["brass","cast","pierced and inlaid with silver and a black compound"]},"f236115b-5fdc-5ac3-84a8-5261cf0359fb":{"name":"Bridle fragment.","description":"Fragment of a horse's bridle. It is made up of three rectangular sections that are hollow to allow a leather strap to pass through. The first is decorated with pointed palmettes; the second with three circles; and the third, which is larger to form the end of the piece, with an inscribed shield inside a circle and palmettes. A tassel and ornaments of dark blue silk, arranged in three bundles, hang from the pointed end, which is decorated with a schematic vegetal design. The inside of the shield, similar to that of the Nasrid kings, is filled with blue engraving.  \nHarnesses of this sort were popular during the Nasrid era as a manifestation of courtly luxury. This fragment is all that remains of a complete harness, which was lost around 1934 and of which only photographs remain.  \nThe piece is known as the 'harness of the bride of Serón' because of its link to an event that occurred around the middle of the AH 9th / AD 15th century. Forty knights from Lorca (Murcia), seeking glory, decided to undertake a heroic deed. They attacked a retinue of 12 Muslims who were going from Serón (Almería) to Baza (Granada) to celebrate the wedding of a maiden with the mayor of that town. The men who were supposed to be protecting the bride fled, but the knights agreed to return her to her family. Grateful, she gave the leader, Diego López de Guevara, a piece of jewellery made of gold and precious stones and the bridle of the mule that she was riding. This story is consistent with the chivalry of the Christian legends from the end of the Middle Ages.","short_description":"This adornment for the bridle in a luxury set of horse tack bears the coat of arms of the Nasrid sultans in gilded copper. Its three small parts are hollow to allow the leather strap around the horse’s head to pass through.","type":"Bridle, fragment","holder":"National Archaeological Museum.","dates":"Hegira 9th century / AD 15th century.","location":"Madrid","dimensions":"Length 35.5 cm; width 2.8 cm.","method_for_datation":"By the Nasrid-style shield that appears in the palatine architecture of the Alhambra and in other pieces from palace circles.","method_for_provenance":"The few surviving examples of luxury bridles are classified as coming from the Nasrid kingdom of Granada.","provenance":"Kingdom of Granada, Spain.","obtention":"The piece was donated to the National  Archaeological Museum on 23 April 1889.","bibliography":"*Catálogo de la Sala Arábiga del Museo Arqueológico Nacional*, p.192, nos. 204–7.  \nEspín Rael, J., *Antiguallas Murcianas*, Murcia, 1993, pp.99–103.  \nEspín Rael, J., “Una Cabezada árabe Granadina y una Bandera Morisca”, *Boletín del Museo de Bellas Artes*, Years XI and XII, Alcantarilla (Murcia), 1934, nos. 11 and 12.  \n“Fragmento de Cabezada”, *La Frontera*, Lorca, 1995, pp.21–2, no. 1.20.  \nMolina Molina, A. L., *Estudios Sobre la Vida Cotidiana (Siglos XIII–XVI)*, Murcia, 2003, pp.11–13.","author":"Ángela Franco","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["bridle","Granada","harness","horses","Nasrids"],"materials":["cast engraved.","copper","leather","silk","silver thread"]},"f30819fe-fb4c-5ec9-a552-17d8231b324a":{"name":"Coat of armour.","description":"A suit of armour made from iron mail that would cover the body from the head to the knees. It has solid metal plates that cover the neck and the stomach – the latter being much larger in size than the former – to provide additional protection. A number of these chain-mail suits survive, often bearing signs of wear and tear from use in battle. One example reveals evidence of injury received on the left sleeve, where the metal chain is torn through.  \nThe sword shows a curved-edged blade which was popular among Muslim fighters, while the Crusaders preferred straight swords. Decorative features on swords are usually found at the hilt near the handle.  \nThe protective plates of the amour are decorated with geometric designs, a Mamluk blazon, and Arabic writing executed in gold *thuluth* script. Most of the decoration has worn away and it is possible to read only some of the words. These include: “made for … the exalted … the great … the lord”. From these words it is possible to conclude that this suit belonged to a ruler, military commander, or other high-ranking official.","short_description":"Mamluk military suits of armour decorated with gilded emblems, such as this one, were worn in battle against the Crusaders.","type":"Arms, armour, iron","holder":"National Museum of Damascus","dates":"Hegira 7th–8th century / AD 13th–14th century.","location":"Damascus","dimensions":"Height 1.30 m.","method_for_datation":"The blazon and phrases mentioned on the abdominal plate of this suit of armour indicate that it is from the Mamluk period.","method_for_provenance":"Although this armour is decorated with a Mamluk blazon and was found in Damascus, its provenance is not clear. The Mamluk period saw an increased regional mobility of people and goods, especially military. It was likely produced in Cairo or Damascus, since these were two major regional centres at this time.","provenance":"Probably Damascus, Syria or Cairo, Egypt.","obtention":"Purchased in 1952.","bibliography":"Abu al-Faraj al-Ush, M., *A Concise Guide to the National Museum of Damascus,* Damascus, 1969, p.199.  \nCluzan, S. et al (eds), *Syrie: Mémoire et Civilisation*, Paris, 1994, p.477.","linkcatalogs":"IAM_EG_EN_001","author":"Mona al-Moadin","translator":"Hilary Kalmbach (from the Arabic)","translation_copy_editor":"Mandi Gomez","keywords":["armour","arms","blazon (or rank)","Cairo","chain-mail","Crusader","Damascus","iron","military wear"],"materials":["Iron rings woven into a chain-mail."]},"f30ef8ba-a67a-55f8-91cb-fa65f19de25e":{"name":"Sword.","description":"A sword composed of a steel blade and a hilt made of animal horn. The scabbard is of gilded silver. The blade has decorative cartouches with inscriptions inside them. On the upper part of the blade there is a prominent medallion, which bears the following text: 'The work of al-Hajj Sanqur', and below this medallion is another inscription of the first verse of the chapter 'Mariam' from the Qur'an: 'Kaf Ha Ya Ayn Sad'. This line is followed byanother cartouche bearing the text, 'Sultan Fatih Muhammad Khan'.Below this cartouche are written verses 1 and 2 from the Qur'anic chapter 'al-Ha Mim', and 'Ain Sin Qaf'*.* The inscriptions and decorations that appear on the blade are executed in gold inlay. The scabbard is ornamented with vegetal decoration carved in high relief. The owner of the sword was the Ottoman Sultan Muhammad II Al Fatih ('The Conquerer').  \nThe Arabs imported swords from Iran and India. Quality swords were produced in Khurasan (Persia, now Iran), Damascus in Syria and Toledo in Spain.","short_description":"Ottomans excelled in making swords and their decoration rivalled that of the Iranians. In addition to their military use, swords bearing the names of Ottoman sultans were worn on gala celebrations at the court. This sword bears the name of Sultan Mohammad II and the name of its maker.","type":"Metalwork, Iron steel, arms, armours","holder":"Museum of Islamic Art","initial_owner":"Ottoman Sultan Muhammad II Al-Fatih (‘The Conqueror’); known in Turkey as Fatih Sultan Mehmet or Mehmet II.","dates":"Hegira 855–86 / AD 1451–81.","location":"Cairo","dimensions":"Length 1 m.","method_for_datation":"The sword is dated based on the fact that the names of Ottoman Sultan Muhammad II and the name of the craftsman are recorded on it. In addition to this, the styles of the inscriptions, as well as the technique of manufacture, closely resemble the techniques that are specific to the Ottoman period.","obtention":"The sword was donated to the museum by Prince Yusuf Kamal, one of the princes of the family of Muhammad Ali, who was a collector of antiques. He donated a large number of ceramic and wooden objects and textiles to the museum.","bibliography":"Öz, T., *Fatih Sultan Mehmet II'ye Ait Eserler \\[Works Belonging to the Sultan Mehmed II the Conqueror\\],* Ankara, 1953.  \nYugal, O., *Al-Suyuf al-Islamiya wa Suna'iha \\[Islamic Swords and their Makers\\],* (trans. Muhammad Omar Taha Oghli), Kuwait, 1988.  \nZaki, Abd al-Rahman, *Al-fi al-Islam \\[Swords in Islam\\],* Cairo, 1951.  \n\\_\\_\\_\\_\\_\\_\\_\\_\\_\\_\\_\\_\\_\\_\\_\\_, “Al-Suyuf wa Ajnasuha \\[Swords and their Categories\\]”, in *Majalat Kuliyat al-Adab \\[Journal of the Faculty of Arts\\],* No. 14, 1952.  \n\\_\\_\\_\\_\\_\\_\\_\\_\\_\\_\\_\\_\\_\\_\\_, *Al-Sayf fi al-'Alam al-Islami \\[The Sword in the Islamic world\\],* Cairo, 1957.","linkcatalogs":"IAM_TR_EN_001","author":"Muhammad Abbas Muhammad Selim","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["armours","arms","Blade","inlay","inscription","military object","Scabbard","sword","vegetal decoration","weapon","weaponry"],"materials":["The blade: iron-steel","the hilt: animal horn. The scabbard: gilded silver. Inscriptions and decorations: gold and silver inlay."]},"f31eb58f-b7d0-56f8-b129-225b701d5561":{"name":"Ewer","description":"The wide base is decorated and fluted. A doughnut-shaped body rises from the base, with eight outward-pointing projections along its upper edge. The body narrows towards the top. The handle is attached to the body and the mouth with double rivets; a clasp at the very top of the handle secures the lid. The handle tapers towards the mouth with a serrated edge. The lid, shaped like a small minaret, incorporates a spout that extends from the body to its top; it is inclined outward, with its surface decorated with a diamond motif. Both the lid and neck are further adorned with fluted decoration.","type":"Ewer","holder":"Şanlıurfa Museum Directorate","location":"Şanlıurfa","dimensions":"Base diameter: 12.5cm, height: 50cm, body width: 24cm, lid height: 12cm","place_of_production":"Şanlıurfa","copy_editor":"Alvaro Miranda","keywords":["bronze","Copper","ewer","Ottomans"],"materials":["cast with relief decoration","Copper-bronze"]},"f464f05d-ba18-530f-b41b-07c96cc843ee":{"name":"Tray.","description":"A circular brass tray decorated with inlaid silver. In the centre sits a raised area in the form of an eight-sided cartouche containing floral elements, within which is a shield with three bulls’ heads. Around this central cartouche are four roundels depicting hunting scenes between complex lotus-blossom designs and confronting phoenixes. Enclosing the figurative panel is a geometric frieze. Under the rim are pairs of ducks within lobed cartouches. A frieze of running animals and flying birds fills the rim.  \nSince the 19th century metal objects of this type came to be known as ‘Veneto-Saracenic’ as it was thought that they were produced in Venice by Muslim craftsmen. However, it is now widely believed by scholars that these vessels were produced in Syria in a style to suit the European market. These wares were probably made in Damascus, where there was a thriving metalwork industry during the Mamluk era. The raised area in the centre suggests the tray would have been used to hold a ewer or chalice.","short_description":"The raised central area of this circular tray suggests it was used for holding a ewer or chalice. Inlaid metal objects, such as this tray, adapted to suit European tastes, were known as ‘Veneto-Saracenic’. They were probably made in Syria before being exported to Europe.","type":"Metalwork, decoration object, silver","holder":"The British Museum.","dates":"About hegira 800 / AD 1400.","location":"London, England","dimensions":"Diameter 55 cm.","method_for_datation":"The shield in the centre of the tray indicates that it was made for export to Italy. By the end of the 8th / 14th century, when trade with Europe increased, metalwork vessels were made in greater numbers, often with blank shields to be filled in after export. The shape of this tray with a raised centre was a new form introduced specifically for the European market in the late 8th / 14th and early 9th / 15th centuries.","method_for_provenance":"There is no general consensus on where these objects were produced. However, it seems likely that this type of inlaid metalwork – with a coat of arms and a European form – were made in Syria specifically for the European market. In Syria there was a strong tradition of inlaid metalwork and a flourishing trade with Europe.","provenance":"Syria.","obtention":"Bequeathed to the British Museum by John Henderson in 1878.","bibliography":"Ward, R., Islamic Metalwork, London, 1993, pp.116–7, plate 93.","linkcatalogs":"IAM_EG_EN_001","author":"Emily Shovelton","copy_editor":"Mandi Gomez","keywords":["animal decoration","coat of arms","floral decoration","geometric decoration","Heraldry","hunting","imaginary animal","Phoenix","trade","Veneto-Saracenic","zoomorphic imagery"],"materials":["Sheet brass engraved and inlaid with silver."]},"f5a5076a-5db4-51ca-8079-bb3a7252511c":{"name":"Bronze standard","description":"A bronze standard in form of a royal crown rested on a glob where a phrase: \"a wish for long life to king\", date AH 1350 / AD 1931, is incised. There are two holes on the base indicates how it was fixed on a post. The standard used to be hold by a guard in front of the palace gate, it belongs to king Hussein I 1853–1931.","type":"Standards","holder":"Numismatic Museum (Ahli Bank)","dates":"1931","location":"Amman","provenance":"Jordan","author":"Aida Naghawy","copy_editor":"Daniel de la Vega"},"f6368799-2300-59bb-921c-1730621f5530":{"name":"Burgonet (*shishak*)","short_description":"This morion (open helmet) belonged to the later Grand Vizir Mehmet Sokolovitsch (AD 1505–79). He was one of the many Christian boys selected for Devşirme (converted to Islam and trained for leadership positions). The sumptuous Oriental helmet is decorated with framed inscriptions containing appeals to Allah and verses from the Qur΄an. Sokolovitsch rose quickly at the court of Sultan Süleiman (AD 1494–66), retaining his position as Grand Vizir under the latter's successors, Selim III (AD 1524–74) and Murad III (AD 1546–95).","type":"Armour","holder":"Kunsthistorisches Museum","dates":"Hegira c. 967–968 / AD c. 1560","location":"Vienna","dimensions":"Height: 46cm, Width: 22cm, Depth: 34cm","method_for_datation":"Collection Ambras Castle, inventory AD 1583","method_for_provenance":"Collection Ambras Castle, inventory AD 1583","provenance":"Turkey?","obtention":"Collection Ambras Castle, inventory AD 1583","bibliography":"Gamber, Ortwin and Beaufort-Spontin, Christian, *Katalog der Leibrüstkammer II. Teil. Der Zeitraum von 1530-1560*, Busto Arsizio: Bramante, 1990.  \nLuchner, Laurin, *Denkmal eines Renaissancefürsten. Versuch einer Rekonstruktion des Ambraser Museums von 1583*, Wien: Schroll, 1958.  \nSievernich, Gereon, Budde, Hendrik and Delius, Eberhard (eds), *Europa und der Orient, 800-1900*, Gütersloh: Bertelsmann Lexikon Verlag, 1989.","author":"Matthias Pfaffenbichler","copy_editor":"Liz Cooper","keywords":["armours","arms","devşirme","epigraphic decoration","helmet","inscription","metalwork","military object","Murad III","Ottoman arms","Ottoman army","ottoman empire","Selim II","Soküllü Mehmed","Süleyman","weapon","weaponry"],"materials":["fire-gilt silver","Iron","padded silk","partially with gilt damascening and heat-blued"]},"f68354eb-cd48-5520-b352-24d135f08193":{"name":"Covered Box with Design of Figural, Vegetal, and Geometric Motifs","short_description":"A twelve-sided brass box with silver and gold inlay has a cover with a central hemispherical dome on the top. The cover is relief decorated with interlocking geometric and vegetal patterning, separated by plain bands of meander. The main register of the dome has circles containing kneeling figures. The dome is surrounded by a stepped, scalloped area, surrounded again by a broader scalloped step, points of the scallops corresponding in location. This broader step has the same incised decoration. The cover tapers in slightly around a plain bottom lip and joins to the box at a thin band of stylized guilloche.  \nThe box has the same type of background relief decoration, registers separated by bands of meander. The roundels contain seated, cross-legged figures. The box rests on a convex bottom.  \nThere is some wear and abrasion over the entire surface of the box. The very top of the dome has a notable hole; some of the metal has been folded back over the top \\[this was the point of attachment for a handle and a ring that appears in older photographs of the object, but has since been removed\\]. Also, one area on the side of the cover seems to have a small metal \"plug\" type of repair.","type":"Metalwork","holder":"Saint Louis Art Museum","dates":"Hegira First half 8th century / AD first half 14th century","location":"Saint Louis","dimensions":"Length: 26.7cm x Width: 27.3cm","method_for_datation":"Scholarly review and/or comparison to similar objects from the period.","method_for_provenance":"Scholarly review and/or comparison to similar objects from the period.","provenance":"Iran, Asia","obtention":"Museum Purchase, 1926","keywords":["Alloy","Asia","Box","Copper","Covered","gold","inlay","Iran","metalwork","Persian","silver"],"materials":["Copper alloy with silver and gold inlay"]},"f71b30b4-5cfa-55d7-a2fa-6790d5d186d8":{"name":"Tray (*sinija*)","description":"The term *sinija* comes from the Turkish word *sini*, which describes a large round brass or copper tray that functioned as a low table on which food was served. These plates were typically decorated with ornaments arranged inside concentric belts, around the central roundel.  \nIn this case, inside the central roundel is the stylized, leaf-like motif. In the widest, central belt, the same motif is alternately composed of cypresses and ibrik motifs. The rim is flattened, and decorated with geometric patterns.","type":"Tableware","holder":"Museum of Applied Art","dates":"Hegira 12th century / AD 18th century","location":"Belgrade","dimensions":"Diameter: 690mm, weight: 4890g","place_of_production":"Sarajevo, Ottoman Empire","method_for_datation":"By stylistic and comparative analysis with related material","obtention":"Purchased in 1959.","bibliography":"Karamehmedović, M. A., *Umjetnička obrada metala*, Sarajevo: Veselin Masleša, 1980: 295, 302–303.","author":"Mila Gajić","keywords":["Copper","Ottoman Balkans","sinija","Tableware","Tray"],"materials":["black compound","copper","Cutting","Engraving","tinned"]},"f79bd592-6c69-526f-b686-15d709a2d676":{"name":"Dish.","description":"A large tinned copper dish with a low foot, a slightly convex base and shallow rounded sides; it has a flat rim with a cusped edge. Made out of a single circular plate of metal, the dish has a crudely punched hole in the rim, while the surface is enhanced by incising. The rim has a scroll band and hatched areas which complement the scallops on the rim. In the well of the dish there are six compartments that contain an alternating composition of an inscription in *kufic* script and floral decoration, separated by interlacing decorative roundels, and with bands of simple scroll-work at the top and bottom. On the base of the dish there is an interlaced star with geometric detailing, set within a roundel and bordered by scrolling. The centre of the star has a roundel containing a composite blazon surrounded by a cursive inscription. The blazon consists of a napkin in the upper field, a cup charged with a pen-case between a pair of powder horns in the centre field, and another cup in the lower field. This particular type of blazon is associated with Sultan Qaytbay, his officials and two of his successors, a fact which suggests a date of the late AH 9th–early 10th / AD late 15th–early 16th century.  \nThe inscription has been deciphered by James Allan (1969): ‘You have reached the highest rank as regards greatness, and good fortune is associated with you on every side; may you not cease to be in demand and to stretch forth your right hand in the world by obtaining your wishes.’ The underside is not decorated but holds two very poorly written inscriptions. These – according to Allan – read: ‘This was made for … (?) Sayf al-Din Aynal al-Ashqar.’ The remaining word is virtually illegible but Allan suggests that it might be an attempt to copy the words ‘al-muqarr al-ashraf’.","short_description":"Many late Mamluk artefacts show blazons that consist of a napkin in the upper field, a cup charged with a pen case between a pair of powder horns in the centre field and a cup in the lower field. This particular type of blazon is associated with Sultan Qaytbay, his officials and two of his successors.","type":"Metalwork,incised copper","holder":"National Museums of Scotland (NMS).","dates":"Hegira late 9th–early 10th century / AD late 15th–early 16th century.","location":"Edinburgh, Scotland","dimensions":"Diameter 39.37 cm.","method_for_datation":"This dish has been dated to between 872 and 923 / 1467 and 1517 by James Allan (1969), due to the type of blazon on the dish which is associated with Sultan Qaytbay, his officials and two of his successors.","method_for_provenance":"James Allan (1969) attributed this piece to a workshop operating in Syria or Egypt during the late Mamluk period.","provenance":"Egypt or Syria.","obtention":"A gift from John Home in 1923.","bibliography":"Allan, J. W., “Late Mamluk Metalwork: A Series of Dishes”, *Oriental Art*,Vol. XV, No. 1, Spring 1969: 1–6.  \nAtil, L. E., *Renaissance of Islam: Art of the Mamluks*, Washington D.C., 1981, pp.108–9, cat. no. 39 (for a comparative argument); pp.240–1, cat. no. 124 (for discussion of the composite blazon).","linkcatalogs":"IAM_EG_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["blazon","calligraphy","coat of arms","Emblems","floral decoration","inscription","Sultan Qaytbay"],"materials":["Incised and tinned copper."]},"f8f46999-1429-5208-8d79-17b9a2715883":{"name":"Vessel with tap","description":"Made of copper using the forging technique, the vessel has a narrow, rounded mouth, a cylindrical, flattened shoulder, a wide belly, and a flat base. A copper pipe is fitted to the edge of the base. A single-spouted tap made of brass is soldered to the end of this pipe. The vessel consists of three sections, and the forging marks on the surface are distinct. Both interior and exterior are tin-plated, but have darkened over time due to oxidation. The lid is missing, and the rim shows nicks and cracks.","type":"Fountain","holder":"Konya Museum Directorate","location":"Konya","dimensions":"Height: 44cm, mouth diameter: 22.3cm, base diameter: 43cm","copy_editor":"Alvaro Miranda","keywords":["Copper","fountain","Ottomans","tap","water"],"materials":["copper","forged"]},"f918b78f-57d9-5c0d-a75f-075ce7156c35":{"name":"Dagger","alternate_name":"Shibriyieh","description":"Silver knife with silver handle and niello decoration on the front; metal on the backside and four Turkish coins along the edge of the sheath; a name (‘Jomaah Ali’) is inscribed on the blade of the dagger. This object is functional and can be used in everyday activities, but at the same time it is a prestigious object that every Bedouin man must have. The most common types of daggers in Jordan are the Yemeni dagger, the Hijazi and other local types.","type":"Men’s holdings; arms and armours","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"fa6093d9-67a1-536f-b0bb-38a5d07cb915":{"name":"Lion from a fountain.","description":"A sculpture such as this hollow lion – standing erect with its uplifted tasselled tail in the shape of a handle – is testament to the variety of Fatimid art. The open jaw of the lion once held a water pipe. The lion’s shape is based on a composition of very abstract forms. Thus its paws are flat, its ribs drawn out linearly, and the lines to describe both the extension of its ears and its bulging eyebrows are simple. The surface of its body along its back, chest and upper legs, is decorated with a spiral pattern that reinforces the sculpture’s stylised form. The engraved inscription found on both sides of the neck can be seen clearly and may date from the AH 7th / AD 13th century. It refers to bi-rasem al-amir Shams al-Din wali Misr, who was probably the governor of ‘Misr’ (Lower Egypt and Cairo).  \nA fully modelled sculpture of a living creature is of interest, as it does not conform to the specifications of Islamic dogma. However, such sculptures emerged from the Egyptian Court because, within its circles, the prohibition of the representation of living forms was not always enforced or adhered to, and also because the Fatimid Shi’ites adopted a liberal view. The Museum of Islamic Art in Cairo holds a sitting lion figure. The Berlin lion could have formed part of a sculptured fountain that featured a variety of figures. Thus, it would correspond to the lions of the well-known, bigger lion fountains of the Alhambra in Granada, Spain. Given its small size, the lion could have been part of a larger construction featuring a number of sculptures such as those represented in Iraqi manuscripts from the AH 7th / AD 13th century onwards. Bronze figures like this lion were widespread across the Mediterranean, and especially across Spain. One of these Spanish lions can be seen in the Louvre Museum in Paris. One can assume that most of these bronze lions did not survive the test of time and were melted down.","short_description":"This lively little lion with an open mouth and upturned tail was used as a fountain spigot during the Fatimid period in Egypt. It is made of cast bronze that has been decorated with scrolls on the back and the legs. Fountains with animal decoration were widespread in Mediterranean countries.","type":"Fountain, lion, metalwork","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"Hegira 5th–6th century / AD 11th–12th century.","location":"Berlin","dimensions":"Height 11.5 cm, length 14.5 cm.","method_for_datation":"Similar figures, cast in bronze, were made especially in Fatimid Egypt. Both the design and the decoration of the lion fountain demonstrate parallels to similar pieces that were created during the Fatimid period. Additionally, it features an inscription that names an apparent governor of Egypt.","method_for_provenance":"The inscription appears to name a governor of Egypt. Furthermore the stylistic markings testify to having originated from the Egyptian Fatimid period.","provenance":"Egypt","obtention":"From a private art gallery in 1911.","bibliography":"Enderlein, V., *Islamische Kunst*, Dresden, 1990, pp.121–4.  \nEttinghausen, R. and Grabar, O., *The Art and Architecture of Islam 650–1250*, Harmondsworth, 1987, pp.197–200.  \n*Museum für Islamische Kunst*, Catalogue, Berlin 1979, no. 313.  \n*Museum für Islamische Kunst*, Catalogue, Stuttgart; Zürich, 1980, 52–3, no. 20.  \nWard, R., *Islamic Metalwork*, London, 1993, pp.60–9.","author":"Annette Hagedorn","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Bronze casting","Fatimid"],"materials":["Bronze casting","engraved.","hollow"]},"fa8521f5-5b5a-5099-8913-7567fa1ba0ab":{"name":"A moneylender's kit","description":"In the first half of the 19th century, before the first banks were founded in Wallachia and Moldavia, moneylenders were the ones who dealt with money loaning and with currency exchange, in an economy which did not have yet a national coin. In Romanian they used to be called \"zarafi\", a term borrowed from the Turkish language. Most of them were Greek, Armenian and Jewish. They often travelled abroad to buy money, one of their main destinations being Istanbul.","type":"Balance with weights","holder":"National Museum of Romanian History","dates":"First half of the 19th century","location":"Bucharest"},"fb4ff4be-b094-5d1b-b95d-4c9739ad33d1":{"name":"Oil Lamp","description":"This bronze oil lamp, dated to the AH 7th-8th / AD 13th–14th century and attributed to the Great Seljuq cultural sphere in Persia, represents a refined example of medieval metalwork used for domestic illumination.  \n  \nShaped in the form of a small ewer, the lamp reflects the Seljuq aesthetic preference for elegant, functional household objects crafted with durable materials. Oil lamps of this type provided steady light in homes, workshops and religious settings, playing a central role in daily life before the widespread adoption of glass lamps and later mechanical lighting technologies. The dating and typological assessment of the piece were carried out by experts from the Istanbul Museum of Turkish and Islamic Arts.","type":"Oil lamp","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 7th-8th century / AD 13th-14th century","location":"Istanbul","dimensions":"Body diameter: 11cm, height: 19.5cm","place_of_production":"Persia","method_for_datation":"Determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","method_for_provenance":"It was determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","keywords":["bronze","oil lamp","Seljuqs","water"],"materials":["Bronze"]},"fb6be5cb-09d6-518e-8754-fe58993289ca":{"name":"Casket","short_description":"The casket is lavishly decorated with figurative imagery. On the top of the lid a king sits on a throne. Around the scene, on the profiled part of the lid twelve medallions with Zodiac signs are depicted, symbolizing the cosmic totality of royal power.  \nScenes of courtly life are presented in the medallions on the casket’s walls. On the left of the lock, two men sit opposite each other on folding chairs. Such chairs were brought to Iran by the Mongols and the rulers of the Ilkhanid dynasty were often depicted sitting on them. On the right side of the lock there is a scene of a conversation in which a crowned person demonstrates a traditionally Iranian way of sitting cross-legged. The historical blend of two codes of power, the conqueror Ilkhanid’s and the local Persian, are visually presented here.  \nThe other walls of the box feature favourite court entertainments: musicians with instruments (a flute, a lute, a harp, a tambourine) and dancers. The \"animal race\" band goes around the perimeter of each wall: lions, dogs, antelopes, hares and sphinxes, winged felines with human faces. Altogether the decorative programme of the casket presents a concentrated artistic embodiment of the idea of \"king's charisma\", the totality of shah’s power and the legitimacy of his privileges.  \nIt is also worthwhile to mention the Buddhist \"knot of happiness\" engraved on the side parts of the lid. This benevolent motif, so popular in the East, was brought to Iran by the Mongols.","type":"Metalwork","holder":"The Khanenko Museum","dates":"AD early 14th century","location":"Kyiv","dimensions":"Height: 12cm, Length: 17.5cm, Width: 12cm","method_for_datation":"Stylistic analysis by A. Ivanov (examination, 1966, date and origin).","method_for_provenance":"According to the entry in the old Museum Inventory Register (1925-1946).","provenance":"Iran","obtention":"Purchased by Bohdan and Varvara Khanenko. Donated by Varvara Khanenko in 1918, nationalized by Bolshevik regime in 1919.","bibliography":"Bilenko, H. and Rudyck (Rudyk), H., *Oriental Collection*, guidebook, Kyiv: The Khanenko Museum, 2005.  \nKomaroff, L., and Carboni, S., (eds), *The Legacy of Genghis Khan: Courtly Art and Culture in Western Asia, 1256–1353*, New York: The Metropolitan Museum, New Haven: Yale University Press, 2002.  \nRudyk, H. (ed), *Charisma of Iran. Persian Art of 12th-19th centuries from Museum Collections of Ukraine*, Kyiv: The Khanenko Museum, 2017.  \nVyazmitina, M. (ed), *Mystetstvo krain islamu (Art from Islamic Countries)*, catalogue, VUAN Museum of Art, Kyiv: All-Ukrainian Academy of Sciences, 1930.  \nWard, R., *Islamic Metalwork*, London: British Museum Press, 1993.","author":"Antonina Makarevych","copy_editor":"Janice Medina","keywords":["Casket","copper alloy","gold and silver inlay","Ilkhanid","Iran","metalwork"],"materials":["Copper alloy","engraved","inlaid with gold and silver"]},"fbcae9a7-567e-5281-9355-f85aa3d91744":{"name":"Ewer","short_description":"According to an inscription found on a large number of ewers of this type, this group can be assigned to a craftsman called Ahmad or a related workshop.  \nCharacteristic for this group of cast bronze ewers are the distinctive pear-shaped body on a splayed foot, a tall faceted neck, a spherical upper part with hinges for fastening the lid and a large beak-shaped spout. The composite shape results from a blending of forms originating in functionally different objects: oil lamps attached to a bulbous vase. Both parts are connected by a strongly curved handle of angular cross-section surmounted by a diamond-shaped thumb rest and leaf-shaped projection on the lower part.  \nIn total, 30 ewers of this type are known so far. Twelve of them bear an inscription “‘amal Ahmad” (the work of Ahmad), eponymous for this group. The ewer at hand belongs to the group with a band of two rows of cavities around the widest part of the body. Additionally, three triangle-shaped medallions with a tripartite vegetal ornamentation are engraved above the double row of cavities.  \nThe find context of the 15 pieces found in archaeological excavations point to a production in or near the Ferghana Valley. A hoard of bronzes found at Budrac – medieval Saghaniyan – in Southeastern Uzbekistan contained ewers of this type and a mortar signed by Ahmad. This was possibly the production site from which the ‘Ahmad ewers’ were distributed.","type":"Metalwork","holder":"University Museum of Islamic Art | The Bumiller Collection","dates":"Hegira 5th century / AD 11th century","location":"Bamberg","dimensions":"Height: 25.5cm, Width: 14.6cm, Weight: 0.85kg","method_for_datation":"By stylistic analysis and comparison with material found in excavations","provenance":"Central Asia / Southeast Usbekistan","obtention":"Purchased from Ibrahimi, Hamburg in 2013","bibliography":"Baer, Eva, *Metalwork in medieval Islamic art*, Albany: State University of New York Press, 1983: 93-94.  \nIlyasov, Jangar, “Bronze Ewers of Craftsman Ahmad”, in Matteo Compareti, Paola Raffetta and Gianroberto Scarcia (eds), *Eran ud Aneran. Studies presented to Boris Il’ic Marsak on the Occasion of his 70th Birthday*, Venzeia: Cafoscarina, 2006: 275-292.","author":"Verena Daiber","copy_editor":"Daniel de la Vega","keywords":["Ahmad ewer","ewer","metalwork"],"materials":["Bronze","cast","engraved","repoussé"]},"fc08aed9-57d3-59a7-83b4-abccf4770360":{"name":"Candlestick of Qalawun.","description":"A copper candlestick consisting of a cylindrical body, base and neck. The cylindrical neck is smaller in diameter than the base and body. At the top of the neck is a candleholder that is wider than the neck. Three decorative bands wrap themselves around the relatively broad base of the candlestick. The first band consists of shapes that are separated from each other by polygons. The second band is characterised by interwoven half-leaves that wrap around each other like a necklace. The third band is similar in shape to an ear of wheat. The body of this candlestick is reminiscent of another, also in the Museum, that belonged to al-Nasir Muhammad bin Qalawun.  \nThe body of the candlestick exhibited here has an engraved inscription band in large Mamluk *naskhi* script, which fills its surface. The spaces in between the inscription are filled with intertwining vegetal motifs, which continue until there are no spaces remaining on the surface of the candlestick body. The inscription reads: “The possession of our lord, the great *amir*, the all-knowing, the just, the sovereign, the victorious”.The inscription is intersected by two circular medallions, each of which is formed by an outer circle filled with depictions of lotus flowers, and an inner circle that contains one big flower. The body ends with two bands of vegetal decoration that resemble the remaining decorative scheme of the body.  \nThe top-plate of the candlestick is devoid of decoration and it is probably not original; the original was probably decorated and perhaps had an inscription band. It is likely that replacement of the top-plate took place when the neck of the candlestick was replaced, but it is not known when these alterations took place. The replaced neck, also undecorated, indicates the decline in craftsmanship during the late Mamluk period. There is striking similarity between this candlestick and that of al-Nasir Muhammad, which suggests that both candlesticks were made by the same craftsman in the same period.","short_description":"A copper candlestick with thick vegetal decorative motifs. Its epigraphic inscriptions are within medallions and written in large Mamluk *naskhi* script, with backgrounds of vegetal decoration. The inscriptions are linked to the ruler, al-Nasir Muhammad bin Qalawun, who endowed it to al-Haram al-Ibrahimi in Hebron.","type":"Candlestick, copper","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Mamluk Sultan, al-Nasir Muhammad bin Qalawun (who ruled three times: AH 693–4, 698–708 and 709–41 / AD 1294–5, 1299–1309 and 1309–40).","dates":"Hegira 693–741 / AD 1294–1340.","location":"Jerusalem","dimensions":"Height 38.5 cm, height (of neck) 19.5 cm, diameter 23.5 cm.","method_for_datation":"This piece was dated based on the inscriptions on it, which also mention the Mamluk sultan, al-Nasir Muhammad bin Qalawun.","method_for_provenance":"Cairo was narrowed down as the place of production by studying the craftsmanship and decoration of these candlesticks, and by comparing them with two similar candlesticks in the Islamic Museum in Cairo that were produced in the same period.","provenance":"Probably Cairo, Egypt.","obtention":"The piece was transferred after 1967 from al-Haram al-Ibrahimi in Hebron (al-Khalil), to the Islamic Museum in Jerusalem.","bibliography":"Abu Khalaf, M., *Islamic Art Through the Ages: Masterpieces of the Islamic Museum of al-Haram al-Sharif, Jerusalem,* 1998.  \n\\_\\_\\_\\_\\_\\_\\_\\_\\_\\_, “Three Candlesticks from the Islamic Museum of al-Haram al-Sharif”, *Levant*, No. 20, 1988.","linkcatalogs":"IAM_EG_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Candlestick","Copper","engraving","epigraphic decoration","inlay","naskhi script","silver","vegetal decoration"],"materials":["copper","engraved and inlaid with silver."]},"fc0f934c-a60f-5984-b826-24611c304045":{"name":"Fountain spout","description":"Small gilded bronze sculpture in the form of a hind. The figure is fragile and disproportionate. Almost all of the surface is covered with delicate oriental plant decoration (lotus flowers inscribed in circles) which make it look as if it is swathed in a rich fabric. Judging from the remains left in the grooves of the engraving and various parts of the body, the piece would have been completely gilded.  \nThe simple forms of the body, its facial characteristics and its legs, which end with discs and are extremely short in relation to its body, are reminiscent of representations of animals that appear in Fatimid ceramics.  \nThis sculpture undoubtedly served as a fountain spout because, apart from the legs, its body is hollow and there is a hole in its belly to allow water to pass through and cascade out of its mouth.  \nThe presence of water in Umayyad gardens was a sign of wealth, luxury and well-being. Fountains were an important aesthetic element in Islamic palaces in the West and in al-Andalus in particular. This hind would probably have been accompanied by other bronze animals.","short_description":"Its cloven hoofs, the base of its horns and its short pointed tail suggest that this animal is a fawn. It would undoubtedly have been used as a spout in a basin or fountain in a Córdoban palace, with the water entering through a duct beneath the belly and coming out through the mouth.","type":"Fountain, metalwork","holder":"National Archaeological Museum","dates":"Hegira 339–90 / AD 950–1000.","location":"Madrid","dimensions":"Height 32.3 cm, length 31.5 cm.","method_for_datation":"By stylistic analysis. Although the Madrid hind is smaller and less stylised, it is clearly similar to other pieces found in the 10th / 16th century among the ruins of the Madinat al-Zahra palace, one of which can be found in the Archaeological Museum of Córdoba. The second disappeared at the start of the 19th centuryfrom the Monastery of Guadalupe, where it was being stored, but has recently been recovered and has been in the Qatar National Museum since 1997.","method_for_provenance":"Some researchers believe that this piece could have been imported from Fatimid Egypt. However, its discovery in the province of Córdoba and the similarities to the deer of Córdoba and Qatar suggest that the three sculptures were produced, if not in the same workshop, at least in the same geographical area of al-Andalus, where metalwork workshops developed.","provenance":"Córdoba, Spain.","obtention":"The hind was bought by the National Archaeological Museum on 3 February 1940.","bibliography":"Camps Cazorla, E., “Ciervo Califal de Bronce”, in *Adquisiciones del Museo Arqueológico Nacional (1940–1945)*, Madrid, 1947.  \nCamps Cazorla, E., “Un Nuevo Ciervo Califal de Bronce”, in *Archivo Español de Arte, Madrid, 1943, pp.212–22.*  \n*El Esplendor de los Omeyas Cordobeses*, Exhibition catalogue, Granada, 2001.  \nGómez Moreno, M., *El Arte Árabe Español Hasta los Almohades. Arte Mozárabe*, Ars Hispaniae, Vol. III, Madrid, 1951, p.336.  \nZozaya, J., “Importaciones Casuales en al-Andalus”, in *Actas del IV Congreso de Arqueología Medieval Española*, Vol. I, Alicante, 1993, p.125.","author":"Margarita Sánchez Llorente","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["floral decoration","fountain","garden","palace","water"],"materials":["Bronze","engraved and gilded.","lost-wax casting"]},"fc5a6282-b7d6-579a-959e-2cc86ab7b704":{"name":"Lantern.","description":"The body of the lantern is hexagonal and gets narrower towards the top. Above the body is a dome with 12 perforated subdivisions and a knotted loop for hanging. Seven lamp holders project downward from the base. The door of the lantern has a single wing. The body has inscription bands in Persian at the top and bottom naming Sultan Bayezid II (r. AH 886–918 / AD 1481–1512), praising him and offering a short prayer. The areas between the inscription bands are decorated in openwork with medallions and half-medallions with arabesque pendants. The main ground is adorned with spiralling tendrils, *chinoiserie* motifs (e.g. peonies) and leaves. The dome is decorated with arabesques and palmette motifs in openwork. The decorative motifs are similar to those found on 9th- / 15th-century Ottoman tile work and arts of the book. The high number of surviving lanterns with similar subdivided domes and decorated with arabesques and *chinoiserie* motifs in engraving, relief, and openwork indicates that such lanterns were produced in large quantities in the second half of the AH 9th / AD 15th century. However, the questions of whether the craftsmen were Mamluk or Ottoman, and whether the lanterns were made in the Mamluk or the Ottoman dominions, remain open. This lantern is one of the best-known examples from this group.","short_description":"This lantern's decoration closely parallels many examples of AH 9th- / AD 15th-century manuscript and tile arts. It is a beautiful example of gilded copperwork and is decorated in relief and openwork.","type":"Gilt copper, relief","holder":"Museum of Turkish and Islamic Arts.","dates":"During the reign of Sultan Bayezid II (hegira 886–918 / AD 1481–1512).","location":"Sultanahmet, Istanbul","dimensions":"Height 70 cm.","method_for_datation":"The Persian inscription along the top and bottom of the lantern's body, insofar as it is legible, contains the name of Sultan Bayezid II (r. AH 886–918 / AD 1481–1512), a poem praising him and a short prayer.","obtention":"The lantern was brought to the Museum from the Tomb of Sultan Bayezid II in Istanbul on 29 September 1930.","bibliography":"*Anadolu Medeniyetleri III, Selçuklu-Osmanlı* (*Anatolian Civilizations III, Seljuqs-Ottomans*), Istanbul, 1983, p.118.  \n  \nölçer N., *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, p.246","linkcatalogs":"IAM_TR_EN_001","author":"Alev Özay","translator":"Barry Wood","translation_copy_editor":"Mandi Gomez","keywords":["Chinese influence","chinoiserie","Lamp","lantern","Sultan Bayezid II"],"materials":["gilt copper","relief decoration and openwork."]},"fcf825c0-6979-528e-9ead-d92db4b19652":{"name":"Vase","description":"A copper tin-coated enamelled vase decorated with birds, floral and Arabic script on a dark blue coloured base with orange, red and green. The Jordanian economy relied on trade and crafts. New waves of people began to settle in Jordan for the purpose of trade and crafts. This object reflects the diverse population composition of Jordan in the late 19th and early 20th centuries. It also demonstrates personal attire, fashion, local costumes and rites.","type":"House furniture; metalwork","holder":"Jordan Folklore Museum, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega"},"fd6a5a94-fc7a-51b0-bb4a-c9c81f9f84c3":{"name":"Basin","description":"Ablution basin of Süleymaniye Workmanship.  \nInscribed in Ottoman Turkish with the text:  \n  \n\"Sâhibi İmam-ı Evvel Hazret-i Şehriyârî Hâfız Ahmed Kâmilî Efendi, H. 1226.\"  \n  \n\"Belonging to His Eminence Hâfız Ahmed Kâmilî Efendi, the İmam-ı Evvel Hazret-i Şehriyârî \\[Chief Imam to the Sultan\\], Year \\[Hijri\\] 1226.\"  \n  \nThe phrase \"İmam-ı Evvel Hazret-i Şehriyârî\" signifies the Chief Imam of the Sultan.  \n  \nHâfız Ahmed Kâmilî Efendi served as the Chief Imam to Sultan Mahmud II.","type":"Basin","holder":"İstanbul Su Müzesi / Istanbul Water Museum","dates":"Hegira 13th century / AD 19th century","location":"Istanbul","dimensions":"Diameter: 63cm, depth: 12.5cm","place_of_production":"Istanbul","method_for_datation":"Determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","method_for_provenance":"It was determined by the experts of the Istanbul Museum of Turkish and Islamic Arts.","provenance":"Süleymaniye  \"Süleymaniye is a district within Istanbul’s Fatih area, part of the historic “Sur içi.” It was known for artisans producing copper and brass works, marked with Ottoman Turkish inscriptions. These marks and craftsmanship identify pieces as “Süleymaniye work.”\"","obtention":"Purchased.","author":"Ercan Topçu","copy_editor":"Alvaro Miranda","materials":["brass"]},"fe0bc2df-8e83-5913-9832-92e4314a4051":{"name":"Candlestick","short_description":"The candlestick bears the signature of the craftsman `Ali ibn Umar al-Sankari al-Mawsili. The dense ornamentation contains human figures in procession, the twelve signs of the zodiac and pairs of birds. An inscription mentions the titles of an unnamed ruler, possibly an Artuqid of Mardin. The second owner of the candlestick was Mirzan Aqa, the Mongol governor of Baghdad, who sometime before 1374, attempted to erase the human figures before offering it to the sanctuary of the Prophet in Medina.","type":"Candlestick, metalwork","holder":"Benaki Museum","dates":"Hegira 716-717 / AD 1317-1318","location":"Athens","provenance":"Northern Syria or Iraq","keywords":["Candlestick","metalwork","Pairs of bird","Twelve signs","zodiac"],"materials":["Brass inlaid with silver and gold"]},"fe9f2bb7-2de6-51ee-b30a-f38e6edd5ee6":{"name":"Bowl (*settla*).","description":"This hemispherical bowl is equipped with a handle that has a ring placed centrally on top and is linked to the body of the bowl via two welded hooks. The two decorative registers, featuring floral ornamentation in relief that covers the body, are divided by narrow, incised geometric decoration. The background of the object is decorated with a rosette that has six petals. Inside, an inscription in cursive lettering specifies that the *settla* is a *habus* (religious bequest) for the benefit of Sidi Abdarrahman al-Thaalibi.  \nIn the past, Algerian women used this utensil to store their soap, comb, sponge and hairpins while they used the *hammam* (baths). However, horse-riders also used it as a drinking mug. With the help of a cord and without getting off their horse, riders would throw the *settla* into wells or other basins in order to draw water. In the Moorish cafes of the countryside, it would be used for ablutions and to serve clients water. For short journeys, the *settla* was used instead of a stew-pot, in which the rider would cook whatever would sustain him when he was hungry.  \nThe individual cited in the text, Abdarrahman al-Thaalibi (AH 784–874 / AD 1383–1470), was a saint and a scholar. In Algiers, one can find a mosque in his name that also houses his mausoleum.","short_description":"Bowl with a handle decorated with parallel bands of floral decoration or incised geometric elements. The bottom of the bowl is decorated with a rosette. A cursive inscription on the inside of the handle is dedicated to Sidi Abdarrahman. It was used in the baths or as part of a horseman's kit.","type":"Metalwork, copper","holder":"National Museum of Antiquities and Islamic Arts","dates":"Hegira 925–1245 / AD 1519–1830.","location":"Algiers","dimensions":"Height 9.7 cm, diameter of the opening 16.2 cm.","method_for_datation":"From the style in which the floral decoration was executed as well as the elements used, both of which can be seen in abundance at the stalls of brassware dealers in the lower Kasbah of old Algiers.","method_for_provenance":"Algiers was the main centre of manufacture for this type of brassware.","provenance":"Algiers.","bibliography":"Baghli, S., *Al-Djazair,* Algiers, 1982.  \nEudel, P., *Dictionnaire* *des bijoux de l'Afrique du Nord, Maroc, Algérie, Tripolitaine*, Paris, 1906.  \nEudel, P., *L'orfèvrerie algérienne et tunisienne*, Paris, 1902.  \nMarçais, G., *L'Algérie médiévale, monuments et paysages historiques,* Paris, 1957.  \nMarçais, G., *Le musée Stéphane Gsell, musée des antiquités et d'art musulman d'Alger*, Algiers, 1950.","author":"Ali Benbella","copy_editor":"Margot Cortez","translator":"Maria Vlotides","translation_copy_editor":"Monica Allen","keywords":["Algiers","baths","bowl","Copper","Daily life","floral decoration","geometric decoration","habus","Hammam","horsemanship","Ottomans","women"],"materials":["embossed and incised copper.","hammered"]},"fecd34a6-3505-59ea-afa9-ef87b1c56f46":{"name":"Brazier of Sultan al-Malik al-Muzaffar Shams al-Din Yusuf ibn ‘Umar","short_description":"The ringed lionheaded knobs on this brazier provided receptacles for handles to transport the heated unit, while the confronted dragon heads on each side functioned as spit brackets. The names and honorifics mentioned in the monumental inscription identify the patron, the second ruler of the Rasulid dynasty (r. 1250–95). His dynastic emblem, a five‑petalled rosette upon a circular shield, features prominently on both sides of each corner bracket.","type":"Metalwork","holder":"The Metropolitan Museum of Art","dates":"Hegira 7th century / AD second half of the 13th century","location":"New York","dimensions":"H: 35.2cm, W: 39.4cm; Max. D: 41.6cm","provenance":"Egypt","obtention":"Edward C. Moore Collection, Bequest of Edward C. Moore, 1891  \nFormer owner: Edward C. Moore, American, New York 1827–1891 New York, New York (until d. 1891; bequeathed to MMA)","bibliography":"Allan, James, *Metalwork of the Islamic World: the Aron Collection*, London: Philip Wilson for Sotheby Publications, 1986: 39–41.  \nCanby, Sheila R., \"The Islamic Galleries at The Met\", *Arts of Asia*, 42 (September/October 2012): 84-85, ill. fig. 9 (colour).  \nDaum, Werner (ed), *Yemen: 3000 Years of Art and Civilisation in Arabia Felix*, Innsbruck/Frankfurt am Main: Pinguin, 1987: 250–52.  \nDimand, Maurice S., *A Handbook of Mohammedan Decorative Arts*, New York: The Metropolitan Museum of Art, 1930: 114–16, ill. fig. 53 (b/w).  \nDimand, Maurice S., *A Handbook of Muhammadan Art*, New York: The Metropolitan Museum of Art, 1944: 151, ill. fig. 90 (b/w).  \nDimand, Maurice S., *A Handbook of Mohammadan Art. Iran Library*, Tehran: Bongah Tarjomeh va Nashr Ketab, 1957: 114, ill. fig. 53.  \nDimand, Maurice S., *A Handbook of Muhammadan Art*, New York: The Metropolitan Museum of Art, 1958: 114, ill. fig. 53.  \nDimand, Maurice S., *A Handbook of Muhammadan Art. Publications 36*, Lahore: The Panjabi Adabi Academy, 1964: 114, ill. fig 53 (b/w).  \nEkhtiar, Maryam, Canby, Shelia R., Haidar, Navina, and Soucek, Priscilla P. (eds), *Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 2011: 139, 155–56, ill. 155 (colour).  \nJenkins-Madina, Marilyn, \"Collecting the \"Orient\" at the Met: Early Tastemakers in America\", *Ars Orientalis*, 30 (2000): 80, ill. fig. 11 (b/w).  \nWilkinson, Charles K., \"Heating and Cooking in Nishapur\", *Metropolitan Museum of Art Bulletin*, 2 (1944): 282-287, ill. 287 (b/w).  \nWalker, Daniel S., Ponce Guadián, Arturo, Babaie, Sussan, Carboni, Stefano, Froom, Aimee, Swietochowski, Marie Lukens, Masuya, Tomoko, Daskalakis-Matthews, Annie Christine, Kahil, Abdallah and Kessler, Rochelle, *Arte Islámico del Museo Metropolitano de Arte de Nueva York. Colegio de San Ildefonso, Septiembre de 1994-Enero de 1995*, Mexico City: Consejo Nacional para la Cultura y las Artes, 1994: 204-205, ill. 205 (colour).  \nWelch, Stuart Cary, *The Islamic World. Vol. 11*, New York: The Metropolitan Museum of Art, 1987: 55, ill. fig. 39 (colour).","copyright":"The Metropolitan Museum of Art, Edward C. Moore Collection, Bequest of Edward C. Moore, 1891","keywords":["Arabic inscription","brass","brazier","court life","Daily life","Egypt","Emblems","Mamluk","metalwork","Rosette","Thuluth"],"materials":["brass","cast","chased","inlaid with silver and black compound"]},"ffc2330e-9d6d-5852-b9cf-1e4ad8156ccf":{"name":"Kettle.","description":"An intact, zoomorphic kettle made of leaded bronze. A representation of a camel bearing a load or a seat, a tripod would once have held the kettle in place above a brazier to heat the contents; the mouth of the camel is the spout, and the lid contacted to the handle.  \n  \nThis kettle is an extremely important object not only because of the rarity of metalwork in the Umayyad period, but also symbolically, for the camel is a highly significant creature in the Arab world considering that only a few hundred years ago, caravans of 120,000 camels – up to six miles long – would have travelled across the desert linking Middle Eastern cities from Arabia to Jerusalem.","short_description":"A kettle of leaded bronze from Umm al-Walid, representing a camel bearing a load or a seat. The mouth of the camel is the spout. A tripod would once have held the kettle in place above a brazier to heat the contents.","type":"Kettle, metalwork","holder":"Madaba Archaeological Museum.","dates":"Hegira first half of the 2nd century / AD first half of the 8th century.","location":"Madaba","dimensions":"Height 14.8 cm, width 12.5 cm, weight 564 g.","method_for_datation":"The object was dated by its stratigraphic context, and association with Umayyad pottery vessels and shards also found at the site.","method_for_provenance":"Where this kettle was produced is unknown but it was found during an archaeological excavation at Umm al-Walid near Madaba.","provenance":"Hallado en Umm al-Walid (Jordania).","obtention":"This kettle was found during archaeological excavations at Umm al-Walid (15 km south-east of Madaba) in 1992 where, earlier, a palace and a mosque were discovered. Ceramic vessels and other metalwork were also uncovered at this site.","bibliography":"Bujard, J., and Schweizer, F., *Entre Byzance et l'Islam: Umm er-Rasas et Umm el-Walid – Fouilles genevoises en Jordanie*, Geneva, 1992, p.17, fig. 11/4; p.18, fig. 14.  \nHaldimann, M. A., *Les Implantations omeyyades dans la Balqa: l'apport d'Umm el-Walid*, Annual of the Department of Antiquities of Jordan*,* XXXVI, 1992, pp.307–18 (especially p.315).","linkcatalogs":"IAM_JO_EN_001","author":"Aida Naghawy","copy_editor":"Mandi Gomez","keywords":["camel","metalwork","tripod kettle."],"materials":["cast","leaded bronze."]}}