Edward C. Moore Collection, Bequest of Edward C. Moore, 1891
Not on view
The reign of Sultan Qaitbay (1468–96), the last great Mamluk sultan, briefly revitalized the declining metalwork industry, but not to the heights of fourteenth century production. The repoussé work that creates the lobed petal‑like form is typical of the late Mamluk period, as are the pincerlike termini of the vertical letters in the inscription.
Inscription: Arabic; translation: -On body: "Glory to our Lord, the Sultan, the most noble King (al-Ashraf), the Father of victory, Qaytbay, the greatest Sultan, the Sultan of Islam and the Muslims, the most noble Kind, the Father of victory, Qaitbay"; -In medallions: "Qaitbay the most noble King, be his triumph magnified".
Translation by Yassir al-Tabba (1978): -Body: "Glory to our Lord, the Sultan, the King, al-Ashraf abu al-Nasr Qaytbay the greatest Sultan, the Sultan of Islam and Muslims, the King al-Ashraf abu al-Nasr Qaytbay, the Sultan"; -Four roundels: "Qaytbay, the king al-Ashraf may his victory be glorious".
Edward C. Moore (American, New York 1827–1891 New York), New York (until d. 1891; bequeathed to MMA)
New York. The Metropolitan Museum of Art. "Renaissance of Islam: Art of the Mamluks," November 21, 1981–January 10, 1982, no. 35.
Atil, Esin. Renaissance of Islam : Art of the Mamluks. Washington, D.C.: Smithsonian Institution Press, 1981. no. 35.
Date: dated A.H. 1119/A.D. 1707Medium: Wood (poplar) with gesso relief, gold and tin leaf, glazes and paint; wood (cypress, poplar, and mulberry), mother-of-pearl, marble and other stones, stucco with glass, plaster ceramic tiles, iron, brassAccession: 1970.170On view in:Gallery 461