Ewer Base with Zodiac Medallions

Fragmentary Ewer


Since the neck of this inlaid metal vessel is missing, its original shape must be reconstructed from its details and from comparative material. This object, very likely, was a ewer similar to that seen in MMA no. 44.15 (catalogue number 9 in this volume), with a narrow neck, large spout, and curving handle. This interpretation is supported by the presence of an undecorated area enclosed within one of the twelve medallions containing depictions of the signs of the Zodiac, which would correspond to the place of attachment of the handle, and by the large number of similar multisided ewers that might have provided the model for the present vessel. Additional details, such as the slightly flaring profile, the shape of the foot, and the dimensions, correspond to those of other such ewers.

The surface of this fragmentary ewer is richly ornamented with silver and copper inlays, but some areas were left undecorated—a feature that sets this example apart from the typical Khurasanian ewer discussed in catalogue number 9 in this volume (MMA no. 44.15). Three inscriptional bands, one on the transitional section between the shoulder and the neck and the other two above and below the medallions on the body, carry traditional blessings to the owner. Their sequence, especially the opening wording bi-l-yumn wa al-baraka ("with bliss and divine grace"), was a standard formula for inscriptions on twelfth-century ewers made in Khurasan. The calligraphic style is different in each band: animated naskh, kufic, and plain naskh. The backgrounds of all three bands are filled with vegetal scrolls. The band between the shoulder and neck, in animated naskh script, is made more spirited by the presence of birds and quadrupeds amid the vegetation.

The twelve medallions with pendants, one on each facet of the vessel, include the full zodiacal cycle according to the traditional iconography. The only anomaly, as mentioned above, occurs in the medallion depicting Pisces, in which a large lobe-shaped area was left empty and the images of two fish were adapted to the unusual remaining space, while the representation of the sign's Planetary Lord, Jupiter, was omitted. A narrow band with twelve running quadrupeds in profile, one creature on each of the facets, is present around the shoulder. Additional lobed medallions alternate with vases of flowers near the base, and a narrow rope pattern decorates the foot of the vessel.

While this object bears a relationship to twelfth-century eastern Iranian ewers, it clearly either corresponds to the last period of their production or, perhaps, was derived from such a model and thus would be even later in date. A ewer in the collection of The State Hermitage Museum in Saint Petersburg displays a parallel combination of decorated and undecorated areas and is similar to the present vessel in profile and in ornamentation. Therefore, the Metropolitan's fragmentary ewer, with its neatly drawn signs of the Zodiac and quadrupeds seen in profile, seems to belong to the thirteenth rather than the twelfth century.

[Carboni 1997]

Inscription: Arabic inscriptions in bands above and below row of medallions and on flat top: Happiness, Salvation, Fortune, Favors, Power, Peace, Prosperity to its owner. Ahmed Babi [the name of the restorer]
Glory, prosperity, dominion, happiness, security, wealth, and health to its owner

Upper band: Glory, prosperity, dominion, happiness, security, wealth, health, and compassion to its owner
With auspiciousness, blessing, dominion, joy, happiness, security, compassion, restfulness, dominion, perfect, wealth, health, dignity, and survival to its owner
Lower band: Glory, prosperity, dominion, continuance, happiness, security, wealth, restfulness, compassion, health, dignity, and continuous survival to its owner
(Translation by Yassir al-Tabba, 1978)

Top band in naskh script:
العز و الاقبال و الدولة و السعادة و السلامة و العافیة و الرحمة لصاحبه

On body in kufic script:
الیمن و البر/ کة و الدولة/ و السرور و/ السعادة و/ السلامة و الر/ حمة و الر/ لراحة و اد/والة و الـ/ مة و النعمة/ و العظمة/ و الکرامة و/ البقا لصاحبه

On body in naskh script:
...احمد بابلي

On body in naskhi script:
العز والاقـ/قبال و الد/ولة و الدا/وامة/ و السلا/ السعادةو/ السلامة و/ النعمة و الر/احة و الرحمة/ و العافیة/ و الکرامة/ و البقا دا/لثنا لصاحبه
(A.Ghouchani, 2011)

The inscription also read by Yassir al-Tabba as:
العز و الاقبال و الدوله و السعاده و السلامه و النعمه و العافیه و لصاحبه
Upper border العز و الاقبال و الدوله و السعاده و السلامه و النعمه و الرحمه و لصاحبه
بالیمن و البرکه و الدوله و السرور و السعاده و السلامه و الرحمه و الرا الراحه و الدوله و التامه و النعمه و العافیه و الر [و] الکرامه و البقا لصاحبه
Lower border العز و الاقبال و الدوله و الدوامه و السلا .... و السعاده و السلامه و النعمه و الراحه و الرحمه و العافیه و الکرامه و البقا دائم ... لصاحبه

Edward C. Moore (American), New York (until d. 1891; bequeathed to MMA)

New York. The Hagop Kevorkian Special Exhibitions Gallery, The Metropolitan Museum of Art. "Following the Stars: Images of the Zodiac in Islamic Art," February 4–August 31, 1997, no. 5.

Dimand, Maurice S. "Near Eastern Metalwork." Museum of Metropolitan Art Bulletin (1926). pp. 193–96, ill. fig, 2 (b/w).

Carboni, Stefano. Following the Stars: Images of the Zodiac in Islamic Art. New York: The Metropolitan Museum of Art, 1997. no. 5, pp. 16–17, ill. (b/w).