The art of metalwork has been one of the
principal forms of artistic expression in the
Islamic world. Responding to the taste and needs
of different social and economic classes, artists
continuously explored the technical and
decorative potential of their materials to
transform simple, functional objects into highly
refined works of art.
In the late tenth century, metalworkers in Central
Asia began to manufacture brass and bronze
objects inlaid with designs in gold, silver and
copper. This technique allowed metalworkers to
decorate their vessels with scenes associated to
courtly life, astrological signs and bold
calligraphic depictions to the rulers. Although
the art of inlay was already known in West Asia
since at least the sixth century, it reached new
levels of artistic and technical sophistication
after
the arrival of Islam. The vessels are among the
most powerful expressions of the social, political
and cultural life and aspiration of the individuals
and societies to which they were created.
This inlaid bronze vessel is a glorious example of
the mastery of Islamic metalworkers during the
Seljuk period. The shape of the vessel is inherent
in its function.
The inlaid decoration is restricted to the lid and
upper part of the vase. This includes a finely
drawn band of a human- headed nakshi
benedictory on the top rim of the body. A finial
in the form of a bird flapping its wings
surmounts the lobed lid, which itself is
stylistically pierced. The bird serves as both a
knob and as decoration. An undulated handle is
attached on the globular body and is surmounted
by a feline finial. The globular body rests on a
finely pierced foot. The vessel as a whole merges
the functional form of the jug with the
decorative adornments.
