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XVIII.—On a Lamp of “Persian Ware” made for the Mosque of Omar at Jerusalem in 1549 : preceded by some Remarks on the Pottery and Porcelain of Egypt, Persia, Damascus, &c

Published online by Cambridge University Press:  25 January 2012

C. Drury Fortnum
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Extract

In making the following crude and superficial observations on those varieties of pottery known among collectors and amateurs as “Persian ware,” my object is to call increased attention to the subject” by adding the few notes which a recent tour through Syria and Egypt, and to Constantinople, has enabled me to gather, and more particularly as an introduction to the notice of the Society of a piece of this ware, remarkable for its beauty, and interesting from its having been made for a mosque of world-wide renown, and also as bearing an inscription informing us of the date of its manufacture, thus giving sure evidence as to the period of the perfection of this very elegant variety of the potter's art.

Type
Research Article
Information
Archaeologia , Volume 42 , Issue 2 , 1870 , pp. 387 - 397
Copyright
Copyright © The Society of Antiquaries of London 1870

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References

page 387 note a On February 16, 1860, numerous specimens of the earthenware usually called “Persian” were exhibited to the Society, and on this occasion Mr. Franks communicated much interesting information on “Persian Wares, ” which he arranged into three classes.—See Proc. Soc. Antiq. 2 S. i. p. 94.

page 388 note a The following is a translation of this inscription kindly given me by Dr. Birch.

“Libations of water and wine and milk.

“May all libations be made from the table of

“Osiris to the priests of Ammon ra, King of

“the Gods and Superintendent of the writings of the

“temple of Ammon, Ammen Em Apt.”

The vessel itself, of the form known as “Namms” was used for the pouring of libations, as frequently represented in the hieroglyphics on the temples at Thebes and elsewhere.

page 388 note b Since the above was written, a remarkable wine-jar of this variety of ware has been procured from the district of Isfahan by M. Mechin; it is of lengthened ovoid form, nearly one metre in height, decorated in zones, first of plants and leafage, then animals, &c.; the central one with mounted horsemen, dogs, hawks, &c.; next animals and birds; lastly plants, leafage, &c.; the whole of the figures are in relievo; the ground is creamy white, covered with a fine foliated vermicular diapering in golden lustre colour, with which also the relievos are heightened.

page 390 note a M. Jacquemart considers these specimens to be of purely Persian manufacture imported into Europe.

page 392 note a In Spain it was also abundantly used by the Arabs and by the Moors—the mosque of Cordova by the former, the Alhambra by the latter; but these tiles were of a totally different composition, being earthenware glazed with a stanniferous glaze, and decorated with gold and copper-coloured metallic lustre.

page 393 note a On the occasion of reading the present paper three tiles were exhibited, two of which I brought from Damascus; the other, of more ancient date, is of the earlier decoration of the mosque of Omar at Jerusalem, previous to its restoration by Soleyman the Great in the sixteenth century.

page 393 note b See woodcut, fig. 15, in the preceding article on Bacini.

page 393 note c I should also here refer to a ware of apparently more recent origin, and perhaps the product of Asia Minor in more than one locality, but whose exact habitat has not been definitely fixed. It may be more properly classed as Turkish than Persian, although some pieces are very Persian in style, and may have been a local product of that country. It occurs as cups and saucers, basins, pastile-burners, &c. generally of small size, and is frequently decorated with intricate patterns of many colours, and with crossed lines incised into the paste. It is now generally believed to be of Anatolian origin.

page 395 note a This peculiar flower occurs also on a plate, and on a Persian carpet in the possession of Baron Davilier.

page 394 note a Since the above was written M. Schefer has acquired a lamp of somewhat similar form, but of smaller dimensions and ruder execution; it is of earlier date, “portant sous le pied l'inscription ‘ fait par Us Elaïny Ettoureïzy xve siecle.’ ” (Guide au Musée Oriental, Paris, 1869, p. 35.) The ground is greenish black, with two zones of Arabic inscription and one of leafage “reserved” in white; a fine vermicular diapering of similar nature fills up the intervals of the lettering, &c. This extremely interesting specimen was received, I was informed, from Asia Minor, and was exhibited at the “Exposition des Beaux Arts” in Paris, 1869.