Ewer with inscription, horsemen, and vegetal decoration, Zangid period (1127–1251), dated A.H. 623 / a.d. 1226 soutern Kurdistan , Mosul
Brass; engraved and inlaid with silver; H. 14 1/2 in. (36.8 cm), W. 12 1/16 in. (30.6 cm), Diam. 8 3/8 in. (21.3 cm) Edward C. Moore Collection, Bequest of Edward C. Moore, 1891 (91.1.586)
This lavishly decorated object is inscribed around the neck: "Made by
cUmar ibn al-Hajji Jaldak, the apprentice of Ahmad al-Dhaki al-Naqqash
al-Mawsili in the year 623 [1226 A.D.]." Ahmad al-Mawsili, originally
from Mosul in Upper Mesopotamia, was a famous metalworker who had a
number of pupils.
Pyxis depicting Christ's Entry into Jerusalem, Ayyubid period (1169–1260), mid–13th century
Syria Brass; hammered, chased, inlaid with silver and black compound; H.
with lid 4 1/8 in. (10.5 cm), H. without lid 3 1/2 in. (8.9 cm), Diam. 4
1/16 in. (10.3 cm)
Rogers Fund, 1971 (1971.39a,b)
Cylindrical lidded boxes (pyxides) were probably used in the Islamic
world to hold ushnan (alkaline ashes of the soda plant which were used
for washing). A number of these boxes were produced in the Ayyubid and
Mamluk periods (thirteenth and early fourteenth centuries), and this
work, which has no inscription, is among a few that present Christian
images. The body, entirely filled with vegetal scrolls, is divided into
eight lobed medallions, each containing a figure. One medallion shows
the entry of Christ into Jerusalem astride a donkey; he is accompanied
by two men who are about to throw their garments under the animal's
hooves and by two others who carry palm branches. Two angels hold a
canopy above Christ's head, an image similar to secular throne scenes in
contemporary Islamic manuscripts from northern Mesopotamia. In the
medallion opposite the Entry into Jerusalem scene, a holy man is
depicted frontally: he wears a chasuble, has a long, bifurcated beard,
and holds a large cross. The remaining six medallions are occupied
either by a figure holding an incense burner, a supplicant, or a monk.
Four of these figures look toward Christ, emphasizing the focus of the
composition, while the other two flank the holy man and turn toward him.
The Virgin and Child with Saint Joseph are seen on the lid.
Ceramic Lantern, Ayyubid period (1169–1260), early 13th century
Syria, probably Raqqa
Stonepaste; underglaze painted in blue, luster painted on transparent glaze; H. 9 1/8 in. (23.2 cm), W. 5 3/4 in. (14.6 cm)
Edward C. Moore Collection, Bequest of Edward C. Moore, 1891 (91.1.138)
This rare object, a lantern in the shape of a domed square building
suspended by means of chains, fits well in the production of vessels
decorated in dark brown luster and blue highlights at Raqqa, Syria,
during the Ayyubid period. Colorless and colored glass originally filled
the two sides presenting lobed rosettes, whereas the other two sides
have openings in the shape of trilobed arches. With its hemispherical
dome and decorative finials at the four upper corners, the lantern's
structure suggests a tomb or mausoleum, thus pointing to a religious or
votive function. In the absence of inscriptions that might confirm its
significance, however, it may have equally served a secular function.
Double–sided Tombstone, 10th century and A.H. 646/a.d. 1248–49
Egypt
Marble; 22 x 15 3/4 x 2 1/4 in. (56 x 40 x 5.7 cm)
Purchase, James and Diane Burke Gift, in honor of Dr. Marilyn Jenkins–Madina, 2010 (2010.225)
This marble tombstone is carved on both sides: on the side on view, a
Qur'anic verse (Sura 3:18) is inscribed in robust kufic script,
characteristic of the Fatimid period. More than two centuries later, the
stone was reused, again as a tomb marker. It was inverted and carved
with an inscription that includes a death date of 1248–49, framed within
an arch on columns with rosettes in the spandrels and a lamp suspended
from its apex.
The Art of the Ayyubid Period (ca. 1171–1260)
The
Ayyubid dynasty came to power under the leadership of the Kurdish
Zengid general Salah al-Din (r. 1169–93), known in Europe as Saladin.
After repulsing a Crusader army that had reached the gates of Fatimid
Cairo and occupying Egypt on behalf of
the Zengids (1160s), Salah al-Din declared the Fatimid caliphate to be
at its end, and established the Ayyubid sultanate (1171). Soon
thereafter, Salah al-Din also gained control over Yemen (1174) and Syria
(1180s). The conflict with the Crusaders continued throughout the
Ayyubid period; Jerusalem was captured by the Muslims in 1187, then,
following a failed treaty, ceded until 1244, when the city was retaken
for good. The sultanate depended on mamluks (slave soldiers) for its
military organization, yet the end of the dynasty in 1250 was largely
caused by mamluks themselves, who overthrew the last Ayyubid sultan in
Egypt, al-Malik al-Ashraf (r. 1249–50) and founded the Mamluk sultanate
(1250–1517).
In the arts, the Ayyubids are known especially for
their works in inlaid metalwork and ceramics, particularly luster- and
underglaze-painted wares. Some objects from this period, including a
group of inlaid metalwork pieces, also have Christian scenes. Signatures
of artists on refined and prized brass works inlaid with silver seem to
indicate that the craftsmen were from Mosul (in present-day Iraq) and
had fled from the approaching Mongol armies. In the case of ceramics
produced in Syria, the influence of Seljuq Iran is prevalent. Among
other arts, enameled glass rose to excellence in this period and carved
wood was also esteemed by Ayyubid patrons. Techniques established and
developed during this time formed the foundation of the arts in the
Mamluk period.
The Ayyubids were also vigorous builders. Their
generous patronage led to tremendous architectural activity in Egypt and
especially in Syria, and their local courts revived the cities of
Damascus and Aleppo. The outstanding secular architecture from this
period includes the fortified citadels of Cairo (1187) and Aleppo (early
thirteenth century). Meanwhile, the establishment of madrasas, higher
institutions for religious learning, such as the Zahiriya (1219) in
Aleppo and that of Salih Najm al-Din Ayyub (1243) in Cairo, exemplify
the Ayyubid interest in Sunni education after the Shici interlude in the
region under the Fatimids. Furthermore, the Madrasa al-Sahiba in
Damascus (1233), built by Salah al-Din’s sister Rabia Khatun, as well as
the Mausoleum of Salih Najm al-Din Ayyub (1250), commissioned by his
wife Shajarat al-Durr, reflects the importance of women as patrons of
architecture under the Ayyubids. In terms of commemorative buildings and
pious architectural initiatives, the Mausoleum of Imam al-Shafici
(1211) and the Tomb of the cAbbasid Caliphs (1242–43) in Cairo are
especially noteworthy.
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