The decoration on this magnificent jar, one of the largest in the collection, was inspired by native Islamic designs found throughout the decorative arts, in metalware, bookbinding, carpet design and Iznik tiles. The pattern is based on a grid or latticework design which helps to organize the floral motifs, with stylized blossoms added at the interstices.

These fantastic flowers are based on Iranian interpretations of the Chinese lotus motifs, introduced in the Timurid period, while the lines loosely form stems with half leaves or split palmettes. The closest parallels are found in sixteenth-century Iznik tiles, with similar designs on flat surfaces. Another source for the decorative scheme is found on seventeenth-century carpets made in Kerman, where this jar was probably made.

Chinese blue-and-white porcelain had been popular in Iran since the 14th century, almost immediately imitated by Iranian potters. Production rose sharply in the 17th century, when Chinese wares were unavailable because of political strife in China. Some of the Iranian wares were close imitations of Chinese originals and even had copies of Chinese maker’s marks on the base. Other items were obviously inspired by Chinese pottery but have a shape or (as here) decoration that is typically Iranian.