DOI issue:
No. 296 (November 1917)
DOI article:Early Persian ceramics
DOI Page / Citation link:https://doi.org/10.11588/diglit.21264#0082
Early Persian Ceramics
IO. PLAQUE FROM HAMADAN (DIAMETER 8 INCHES)
smaller ones from which flow an elaborate
scheme of Arabic scrolls dividing the surface of
the sides into a number of medallions which are
filled with diapered pendants and rosettes in
black. The exterior has a bold scrolled leaf
pattern coated over the surface with iridescent
patina with patches of opalescence running
throughout the surface.
No. 9 is one of those subtle specimens of
Rhages in which the purple, blue, and brown are
intermingled with a somewhat complex scheme
of decoration of caligraphy and spraying foliage
with an astonishing simplicity characteristic of
artists of the Rhages atelier. In a tumulus at
Hamadan (Akbatana) were discovered Nos. io
and n, a plaque and frieze, which, although
they represent specimens entirely distinct tech-
nically, differ in both cases con-
siderably from the products of the
Sultanabad and Rhages ateliers. In
No. io the technique is complex
and laboured; the paste has been
first carefully fashioned, then painted
over in an uncommon turquoise
green upon which polychromatic
designs have been pencilled so as
to accentuate the subject of deco-
ration so fashioned. The glaze was
then poured over and the piece sub-
jected to a high temperature, after
which it was coloured with enamel
touches here and there, and again
heated at a lower degree. Lastly the
scheme of decoration was enriched in
places with touches of gold.
ThefriezeNo. n,ontheotherhand,
is only moulded and a vitrious even glaze poured
over it. This piece, however, is of importance,
for in the interlaced scroll of pure Saracenic type
we see the origin of Gothic pattern, so freely
used in the design of media;val Europe.
It should be remarked that several years
have elapsed since the excavations which have
brought to light these examples of the early
ceramic art of Persia were commenced, and
that numerous specimens besides those belong-
ing to the collection from which these have been
selected have been publicly exhibited in Euro-
pean art centres before the present year, as for
instance in Paris, where a collection was shown
seven or eight years ago. Illustrations in black
and white can of course give no adequate idea
of the subtle beauties of such wares, but a
study of the specimens now reproduced will
demonstrate that the artists of the Rhages
atelier derived their inspiration from a loftier
plane of imagination than the others.
In conclusion we should point out an out-
standing feature seen throughout the decoration
of these wares, namely, the utter disregard of
the Persian artist-decorator of any attempt to
imitate or copy nature. Persian artists of the
period we are dealing with evidently derived
their inspiration from nature, but only to obtain
ideas which they presented in their own unso-
phisticated way. The result is that we have
an art which has come down to us to merit
our appreciation, and should serve much
practical purpose in affording suggestions for
our contemporary artists.
66
II FRIEZE FROM HAMADAN, AKBATANA (LENGTH II INCHES)
IO. PLAQUE FROM HAMADAN (DIAMETER 8 INCHES)
smaller ones from which flow an elaborate
scheme of Arabic scrolls dividing the surface of
the sides into a number of medallions which are
filled with diapered pendants and rosettes in
black. The exterior has a bold scrolled leaf
pattern coated over the surface with iridescent
patina with patches of opalescence running
throughout the surface.
No. 9 is one of those subtle specimens of
Rhages in which the purple, blue, and brown are
intermingled with a somewhat complex scheme
of decoration of caligraphy and spraying foliage
with an astonishing simplicity characteristic of
artists of the Rhages atelier. In a tumulus at
Hamadan (Akbatana) were discovered Nos. io
and n, a plaque and frieze, which, although
they represent specimens entirely distinct tech-
nically, differ in both cases con-
siderably from the products of the
Sultanabad and Rhages ateliers. In
No. io the technique is complex
and laboured; the paste has been
first carefully fashioned, then painted
over in an uncommon turquoise
green upon which polychromatic
designs have been pencilled so as
to accentuate the subject of deco-
ration so fashioned. The glaze was
then poured over and the piece sub-
jected to a high temperature, after
which it was coloured with enamel
touches here and there, and again
heated at a lower degree. Lastly the
scheme of decoration was enriched in
places with touches of gold.
ThefriezeNo. n,ontheotherhand,
is only moulded and a vitrious even glaze poured
over it. This piece, however, is of importance,
for in the interlaced scroll of pure Saracenic type
we see the origin of Gothic pattern, so freely
used in the design of media;val Europe.
It should be remarked that several years
have elapsed since the excavations which have
brought to light these examples of the early
ceramic art of Persia were commenced, and
that numerous specimens besides those belong-
ing to the collection from which these have been
selected have been publicly exhibited in Euro-
pean art centres before the present year, as for
instance in Paris, where a collection was shown
seven or eight years ago. Illustrations in black
and white can of course give no adequate idea
of the subtle beauties of such wares, but a
study of the specimens now reproduced will
demonstrate that the artists of the Rhages
atelier derived their inspiration from a loftier
plane of imagination than the others.
In conclusion we should point out an out-
standing feature seen throughout the decoration
of these wares, namely, the utter disregard of
the Persian artist-decorator of any attempt to
imitate or copy nature. Persian artists of the
period we are dealing with evidently derived
their inspiration from nature, but only to obtain
ideas which they presented in their own unso-
phisticated way. The result is that we have
an art which has come down to us to merit
our appreciation, and should serve much
practical purpose in affording suggestions for
our contemporary artists.
66
II FRIEZE FROM HAMADAN, AKBATANA (LENGTH II INCHES)