Bowl

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Object Name: 
Bowl
Accession Number: 
55.1.17
Dimensions: 
Overall H: 8.3 cm, Diam (max): 9.9 cm
Location: 
Not on Display
Date: 
800-999
Web Description: 
This cup belongs to a large group of early Islamic vessels that were decorated by pinching the surface with tongs. The metal tongs had circular or square ends containing the carved motif that was to be impressed in relief on the wall of the glass. Three different pairs of tongs, which produced triangular, circular, and heart-shaped patterns, were used to decorate the Corning cup. The makers of such objects may have been seeking ways to achieve some freedom of expression within the rules of repetition common in Islamic art. This freedom could be achieved by using different combinations of tongs, which bore patterns different from those of one- or two-part molds. Archeological finds indicate that this type of glass was traded extensively in the Islamic world during the ninth and 10th centuries.
Department: 
Provenance: 
Kouchakji, Fahim (b. Syria, 1886-1976), Source
Category: 
Material: 
Primary Description: 
Bowl. Transparent yellowish green, with some small bubbles and fewer large ones; occasional darker streaks. Blown; pincered. Cylindrical bowl. Rim plain, with rounded lip; wall almost vertical, but with slightly convex profile, curving in at bottom; base plain; pontil mark. Wall has three horizontal rows of pincered motifs: at rim, above mid-point, and at and below mid-point. All rows were made with different tools. Row at rim (1) has 11 contiguous or adjacent V-shaped motifs; that above mid-point (2) has 13 circles; row below mid-point (3), contains eight stylized heart-shaped motifs, each enclosing one vertical line and two semi-circles.
Dining with the Sultan: The Fine Art of Feasting
Venue(s)
Los Angeles County Museum of Art 2024-02-04 through 2024-05-26
Museum of Fine Arts, Houston 2024-06-30 through 2024-09-15
Detroit Institute of Arts 2024-11-10 through 2025-02-02
Dining with the Sultan is a pan-Islamic exhibition spanning the eighth through nineteenth centuries and including some 200 works of art representing a rich variety of media from three continents. Our goal is to correlate the objects, many of them rare works of art, with the sourcing, preparation, serving and consumption of food. We expect this to be a transformative exhibition, one emphasizing our shared humanity rather than our singular histories. Following the model of LACMA’s 2011 exhibition Gifts of the Sultan: The Arts of Giving at the Islamic Courts, it similarly will introduce our audiences to Islamic art and culture with objects of undisputed quality and appeal, only this time viewed through the universal lens of fine dining. In considering the admittedly very substantial and diffuse theme of feasting at the Islamic courts, we have cast as wide a net as possible in terms of both the time frame and the concept of “fine dining.” The resources that inform this study are two-fold: 1) Works of art that can be identified from their inscriptions or specific shapes as containers and receptacles for food or beverage, or are associated with preparing and serving food, or else those works that are similar to examples described by the written sources, as well as works of art, primarily manuscript illustrations, which depict food preparation and dining. 2) Rich textual sources, including a broad array of cookbooks and books of delicacies, texts on etiquette, instructions for princes, royal memoirs, collections of food poetry and parody, dynastic histories, endowment deeds, kitchen accounts, dietetic and medicinal works, travelers’ narratives, and diplomatic reports and communiqués. Clearly it is the first category that primarily will provide the visual focus of the exhibition, while the second will supply the documentary framework as conveyed through didactic materials and especially the exhibition catalogue. The sheer quantity of primary sources and the large number of relevant first-rate works of art together indicate the importance of gourmet gastronomy to Islamic courtly culture. On a popular level, the exhibition will stimulate not only the eyes but the appetite, reminding visitors of the commonly shared pleasure of food—both its taste and its presentation; it also will promote greater inter-cultural understanding and empathy by introducing American museum visitors to Islamic art through a practice shared and prized by all cultures—the act of coming together to partake of a meal. On a scholarly level, and drawing upon recent research in food and foodways, the exhibition will provide much needed information on the enormous class of luxury objects that may be broadly defined as tableware, while also demonstrating how gustatory discernment was a fundamental activity at the great Islamic courts.
Traveling the Silk Road: Ancient Pathway to the Modern World
Venue(s)
American Museum of Natural History 2009-11 through 2010-08
National Museum of Natural Science 2011-06-11 through 2011-09-12
National Museum of Australia 2012-03-31 through 2012-07-29
Palazzo delle Esposizioni 2012-10-27 through 2013-03-24
National Chaing Kai Shek Memorial Hall
 
Glass of the Sultans
Venue(s)
Benaki Museum
Corning Museum of Glass
Metropolitan Museum of Art
Glass from the Ancient World: So Diverse a Unity
Venue(s)
University of Michigan 1991-04-05 through 1991-05-05
 
Isurāmu garasu=Islamic glass/イスラーム・ガラス=Islamic glass/真道洋子著; 桝屋友子監修 (2020) illustrated, preface color plate 12;
Islamic Glass in the Corning Museum of Glass Volume Two (2014) illustrated, p. 152, #878; BIB# 113723
Islamic Masterworks: 'Glass of the Sultans' at the Met (2001-11) illustrated, fig. 10; BIB# AI53342
Glass of the Sultans (2001) illustrated, p. 130-131, #47; BIB# 68105
Glass in the Islamic World (2001) illustrated, [p. 5, bottom];
Hikari no shouchu: sekai no garasu = The glass (1992) p. 95, #149; BIB# 58995
Glass from the Ancient World: So Diverse a Unity (1991) illustrated, p. 76, no.49; BIB# 34381