Pitcher

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Object Name: 
Pitcher
Place Made: 
Accession Number: 
66.1.5
Dimensions: 
Overall H: 16.2 cm, Diam (max): 11.1 cm
Location: 
On Display
Date: 
probably 1100-1399
Web Description: 
This pitcher was decorated by inflating molten glass in a mold. Since glassmaking molds were introduced by the Romans in the early first century A.D., they have been used continuously in Egypt, Western Asia, and elsewhere. No examples of full-size metal molds from the medieval Islamic period are known to exist, but the Corning collection contains one of two surviving metal dip molds. It has an overall pattern of lozenges. The body of the pitcher was blown in a similar dip mold, withdrawn, and inflated further. The neck was tooled, and the handle was applied and pinched. This type of colored mold-blown glass is often attributed to the Gurgan region of northeastern Iran.
Provenance: 
Motamed, Saeed, Source
1966
Category: 
Color: 
Material: 
Primary Description: 
Pitcher. Transparent greenish brown; few obvious bubbles. Body blown in dip mold; handle pincered. Pitcher: cylindrical. Rim has six lobes, with rounded lip; neck cylindrical, with vertical sides, folded near bottom to create raised “collar” (H. 1.3 cm) with three thicknesses of glass; shoulder slopes and has rounded edge; wall straight and tapering slightly, rounded at bottom; base plain, slightly concave; pontil mark large and irregular (max. W. 1.8 cm). Handle with strap-shaped cross section dropped onto bottom of shoulder, drawn up and in, and attached to outside of rim, with semicircular thumb-rest near upper attachment. Handle and thumb-rest pincered with tool that formed two vertical groups of three pyramidal bosses on handle and two bosses on thumb-rest. Bottom of neck (below "collar"), shoulder, wall, and underside of base have overall honeycomb pattern, with individual compartments placed in horizontal rows and arranged in quincunx. At bottom of neck: intermittent row of impressed dots above continuous row of 30 small, rather irregular hexagons. On shoulder: two rows of 30 hexagons. On edge of shoulder and wall: four rows of 30 hexagons above one row of 17 compartments that were stretched along their vertical axis and extend under base. On base, radiating from center: origin of compartment in bottom row on wall, with kite-shaped rather than hexagonal motifs.
Dining with the Sultan: The Fine Art of Feasting at the Islamic Courts
Venue(s)
Los Angeles County Museum of Art
Dining with the Sultan is a pan-Islamic exhibition that will span the eighth through nineteenth centuries (and perhaps beyond) and include some 150 works of art representing a rich variety of media from three continents. We expect this to be a transformative exhibition, one emphasizing our shared humanity rather than our singular histories. It will follow the model of LACMA’s 2011 exhibition Gifts of the Sultan: The Arts of Giving at the Islamic Courts. It similarly will introduce an American audience 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, preliminary research has led us to 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 so far are two-fold: 1) Rich textual sources, including a broad array of cook books 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. 2) 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. Clearly it is the second category that primarily will provide the visual focus (the flesh, so to speak) of the exhibition, while the first will supply the documentary framework (the bones, as it were) 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 food culture at the Islamic courts. The exhibition, which is in preparation for 2023, will require between 6,000-8,000 sf. It will be organized primarily by sub-themes, which will include topics such as coffee culture in the Ottoman era, outdoor feasting or picnicking, and the continuity of Late Antique/Persian royal cuisine and etiquette at the early Islamic courts. At LACMA, the installation will include our 18th-century Damascus Room in order to suggest the types of architectural spaces used for receiving and feasting family and honored guests. 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; on a scholarly level 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.
Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture
Venue(s)
Brigham Young University Museum of Art 2012-02-24 through 2012-09-29
Indianapolis Museum of Art 2012-11-02 through 2013-01-13
Museum of Fine Arts, Houston 2013-02 through 2013-06
Brooklyn Museum 2013-08 through 2013-11
As the premier art museum in the Mountain West and most attended university art museum in North America, the Brigham Young University Museum of Art (MOA) in Provo, Utah, is the organizing institution for the upcoming exhibition Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture. Renowned Islamic art scholar Dr. Sabiha Al Khemir is serving as Project Director of the exhibition that will feature more than 250 works of art from more than 40 lenders in ten countries and will travel throughout the United States. The exhibition will be on display in the galleries on the main level of the museum.
 
Glass of the Sultans
Venue(s)
Benaki Museum
Corning Museum of Glass
Metropolitan Museum of Art
Liquid Refreshment: 2000 Years of Drinks and Drinking Glasses
Venue(s)
Corning Museum of Glass 1993-04-24 through 1994-12-31
 
Glass from the Ancient World: So Diverse a Unity
Venue(s)
University of Michigan 1991-04-05 through 1991-05-05
Islamic Glass in the Corning Museum of Glass Volume Two (2014) illustrated, p. 95, 101, #779; BIB# 113723
Glass: A Short History (The British Museum edition) (2012) illustrated, p. 52; BIB# 135965
Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture (2012) illustrated, p. 243, upper panel, right; BIB# 127550
Glass: A Short History (Smithsonian Books edition) (2012) illustrated, p. 52; BIB# 130360
Glass of the Sultans (2001) illustrated, pp. 98-99, #25; BIB# 68105
Glass in the Islamic World (2001) illustrated, [p.3, bottom];
Glass from the Ancient World: So Diverse a Unity (1991) illustrated, p. 76, no.50; BIB# 34381