mirror (ayine)
Mirror
10th century (cast)
10th century (cast)
| Artist/Maker | |
| Place of origin |
The mirror appears to have been cast in two stages. Firstly as a strictly circular mirror and secondly with the addition of the handle.
This is evident in that the lotus blossom-shaped attachment of the handle runs over the original inscription on the outer edge. There is a slightly blurred duplicate effect indicating a double casting. The position of the handle's attachment necessitates that the mirror is held at a horizontal angle in order to view the decoration and inscription straight on, which contradicts its own natural function.
Depicted in the central roundel, and framed by an epigraphic (Kufic) frieze, is Zal being carried into the air by the Simorgh. The Simorgh is depicted as an eagle in heraldic posture with head turned to the left, wings outstetched and the long flowing tail curling upwards.
The wings are stylized in the Samanid convention. Each are divided into two halves by a band of beads enclosed by two fillets, the longer feathers being rendered by long incisions.
Zal is depicted as a standing figure in front of the bird. His arms are outstretched and bent upwards, holding on to a rope moulded over the head of the bird.
Patina: red oxide and olive yellow on all the bas-relief parts that have been exposed to rubbing.
This is evident in that the lotus blossom-shaped attachment of the handle runs over the original inscription on the outer edge. There is a slightly blurred duplicate effect indicating a double casting. The position of the handle's attachment necessitates that the mirror is held at a horizontal angle in order to view the decoration and inscription straight on, which contradicts its own natural function.
Depicted in the central roundel, and framed by an epigraphic (Kufic) frieze, is Zal being carried into the air by the Simorgh. The Simorgh is depicted as an eagle in heraldic posture with head turned to the left, wings outstetched and the long flowing tail curling upwards.
The wings are stylized in the Samanid convention. Each are divided into two halves by a band of beads enclosed by two fillets, the longer feathers being rendered by long incisions.
Zal is depicted as a standing figure in front of the bird. His arms are outstretched and bent upwards, holding on to a rope moulded over the head of the bird.
Patina: red oxide and olive yellow on all the bas-relief parts that have been exposed to rubbing.
Object details
| Category | |
| Object type | |
| Title | mirror (ayine) (generic title) |
| Materials and techniques | Cast brass |
| Brief description | Bronze roundel mirror with handle. |
| Physical description | The mirror appears to have been cast in two stages. Firstly as a strictly circular mirror and secondly with the addition of the handle. This is evident in that the lotus blossom-shaped attachment of the handle runs over the original inscription on the outer edge. There is a slightly blurred duplicate effect indicating a double casting. The position of the handle's attachment necessitates that the mirror is held at a horizontal angle in order to view the decoration and inscription straight on, which contradicts its own natural function. Depicted in the central roundel, and framed by an epigraphic (Kufic) frieze, is Zal being carried into the air by the Simorgh. The Simorgh is depicted as an eagle in heraldic posture with head turned to the left, wings outstetched and the long flowing tail curling upwards. The wings are stylized in the Samanid convention. Each are divided into two halves by a band of beads enclosed by two fillets, the longer feathers being rendered by long incisions. Zal is depicted as a standing figure in front of the bird. His arms are outstretched and bent upwards, holding on to a rope moulded over the head of the bird. Patina: red oxide and olive yellow on all the bas-relief parts that have been exposed to rubbing. |
| Dimensions |
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| Style | |
| Marks and inscriptions | (Persian; Kufic; On epigraphic frieze framing the roundel; engraved)
|
| Object history | Purchased for £5 6s 4d from Mr Neury, 30 November 1903. Historical significance: This is one of the earliest examples of a pun between the visual theme and an abstract notion being expressed in an inscription. |
| Historical context | The depiction of the Simorgh as an eagle elevating the figure of Zal was popular with metalworkers in the 11th century. This is possibly due to the event being recounted in the Shah-Name. |
| Subject depicted | |
| Bibliographic reference | Melikian-Chirvani, A.S. Islamic Metalwork from the Iranian World, London:HMSO, 1982. p.48. ISBN 0 11 290252 9 |
| Collection | |
| Accession number | 1536-1903 |
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| Record created | February 12, 2003 |
| Record URL |
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