Dish
1694-1722 (made)
Artist/Maker | |
Place of origin |
Within a brown rim the dense reserve-painted pattern of the large dish is relieved by the outline of a cross. The bracketed tips reach out over the edge of the flange. The cross shape is filled with four flowery branches emerging from the central figure of a duck with a spotted head and an S-neck. The four remaining areas including the flange are crowded and filled with four lions looking outwards surrounded by large veined leaves and luscious flowers with smaller leaves. Below a brown rim, the outer flange and well are painted with six long narrow leaves, and two luscious flowers. Two small star shapes fill the intervals. Eight spur marks inside the base ring surround the recessed centre.
Object details
Category | |
Object type | |
Materials and techniques | Ceramic ware with underglaze painting in two blues |
Brief description | Safavid blue and white ceramic dish with luscious flower patterns produced towards the end of the Safavid dynasty |
Physical description | Within a brown rim the dense reserve-painted pattern of the large dish is relieved by the outline of a cross. The bracketed tips reach out over the edge of the flange. The cross shape is filled with four flowery branches emerging from the central figure of a duck with a spotted head and an S-neck. The four remaining areas including the flange are crowded and filled with four lions looking outwards surrounded by large veined leaves and luscious flowers with smaller leaves. Below a brown rim, the outer flange and well are painted with six long narrow leaves, and two luscious flowers. Two small star shapes fill the intervals. Eight spur marks inside the base ring surround the recessed centre. |
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Style | |
Marks and inscriptions |
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Object history | Historical significance: This dish was made during the reign of Shah Sultan Husayn (1694-1722) who like his father, had no formal training. Under his reign, Persia soon fell into economic degradation and the Safavid dynasty ended dramatically. With this in mind, respectable glazed wares produced under Shah Sultan Husayn could not have been produced any later than after the first quarter or the 18th century. Interesting groups of ceramics were produced during this period showing the Persian potter's awareness of the varied production of Qing ceramics. According to Crowe, the most unexpected series of dishes amongst these were those decorated with luscious flowers (similar to the Qing wares) but they also appear to be influenced by Japanese designs (which were also imitated in China). This dish is an example of some of the more strange dishes produced at this time which were often overloaded with patterns. It is significant because it highlights the difference in craftsmanship and sense of linear between the Persian potter and his/her Japanese counterpart. |
Historical context | Persian blue and white ceramics were primarily produced during the rule of the Safavid Dynasty in Iran (early 16th century to early 18th century). Iranian potters were almost exclusively preoccupied with making wares in the styles of Chinese blue-and-white porcelain some close copies and some more fanciful. Echoes of earlier traditions remained, in particular in the black-under-turquoise colour scheme that dates back in Iran to the end of the 12th century. Towards the end of the 16th century there was a widening of interest that blossomed in the 17th century to a wide range of styles and techniques in which blue and white plays a dominant but not exclusive role. |
Subjects depicted | |
Bibliographic reference | Crowe, Yolande. Persia and China Safavid Blue and White Ceramics in the Victoria & Albert Museum 1501 -1738 Switzerland: 2002 ISBN 0-9538196-1-2 Worldwide distribution by Thames & Hudson. p.228
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Collection | |
Accession number | 240-1884 |
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Record created | April 5, 2006 |
Record URL |
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