Although the mina'i technique is usually associated with figural imagery, it was also used to create abstract ornamental patterns as seen here. It allowed the artist to make fine lines in several contrasting colors, which meant that patterns of increased complexity were possible. Here the artist has decorated the jug's body with an interlace of vegetal motifs, while the tall neck is covered with a repeating geometric pattern.
Physical description
Jug convered with an opaque white glaze painted in-glaze blue and turquoise, and red and black enamel. Painted diamond pattern set within two registers of squares on neck, design of arabesques and interlacing on body . Wide opening leading to bulbous body.
Place of Origin
Iran (made)
Date
1100-1200 (made)
Artist/maker
Unknown (production)
Materials and Techniques
White stone paste body covered with opaque white glaze and enamel
Dimensions
Height: 6 in, Diameter: 5.5 in
Object history note
An example of a distinctive group of mina'i wares which are characterised by a decoration of broad arabesque and interlacing morifs and by a restricted enamel palette (see Arts of Islam, 1976 nos. 353-4; Cobalt and Lustre 1994, nos. 236-7). The blue and turquoise are painted into the raw glaze before firing and the black and red added in a separate firing. Morgan (1994) has divided mina'i wares into three ctaegories; with relief decoration (non-figural), without relief decoration (non-figural) and without relief decoration (figural). This jug falls into the second category. Mina'i wares share three main characteristics. They are made with a white composite fabric; they are covered with an opaque white or occasionally opaque turquoise glaze which reaches the edge of the foot ouside and is applied seperately in the vertical footring and thirdly the polychrome colours are applied over the glaze.
Historical context note
Non-figurative minai'i wares are somewhat rarer than figurative which can be related to mural and manuscript illustration of 12-13th century Iran. Not much is known about the patrons of these wares nor the context in which they were used.
Descriptive line
Jug convered with an opaque white glaze painted, Iran, 1100-1200
Bibliographic References (Citation, Note/Abstract, NAL no)
The Arts of Islam, Catalogue of the exhibition held at the Hayward Gallery, 8 April- 4 July, 1976, The Arts Council of Great Britain, 1976.
Kuhnel, E. Islamic Art, London, 1970. Fig. 89
Morgan, P. "Iranian stone-paste pottery of the Saljuq period. Types and techniques," Cobalt and Lustre, Khalili Collection, Vol. XI, pp. 155-169.
Tim Stanley ed., with Mariam Rosser-Owen and Stephen Vernoit, Palace and Mosque: Islamic Art from the Middle East, London, V&A Publications, 2004; p. 49, plate62
Exhibition History
Palace and Mosque: Islamic Art from the Victoria and Albert Museum (The Millennium Galleries, Sheffield 14/01/2006-16/04/2006)
Palace and Mosque: Islamic Art from the Victoria and Albert Museum (Setagaya Art Museum, Tokyo 01/10/2005-04/12/2005)
Palace and Mosque: Islamic Art from the Victoria and Albert Museum (Kimbell Art Museum, Fort Worth, Texas 03/04/2005-04/09/2005)
Palace and Mosque: Islamic Art from the Victoria and Albert Museum (National Gallery of Art, Washington 18/07/2004-06/02/2005)
Labels and date
TANKARD
White earthenware painted in overglaze colours.
PERSIAN; late 12th or 13th century.
Given by the Executors of Lady Marling, C.B.E. [Used until 11/2003]
Production Note
Mina'i
Materials
Glaze; Enamels; Stonepaste
Techniques
Painting; Enamelling; Glazing; Firing
Categories
Islam; Ceramics
Collection code
MES
