The pattern of this charming dish is a variant of the so‑called chintamani (Sanskrit for "auspicious jewel") design. Appearing on ceramics as well as on carpets and textiles, this pervasive design originated in Buddhist iconography. Originally, the circles and wavy stripes represented auspicious flaming pearls, but in the Ottoman context this significance was transformed through their association with tiger stripes and leopard spots, symbols connoting strength and courage.
W. B. Osgood Field, New York (until 1902; gifted to MMA)
New York. The Hagop Kevorkian Special Exhibitions Gallery. "Flowers and Leaves: The Ottoman Pottery of Iznik," September 25, 1991–November 15, 1992, no catalogue.
New York. Visual Arts Gallery. "Iznik, Legendary Ceramics from Turkey: an Art Reborn," January 15, 2005–February 26, 2005, p. 22.
Pope, John A. "Chinese Influences on Iznik Pottery: A re-examination of an old problem." In Islamic Art in The Metropolitan Museum of Art, edited by Richard Ettinghausen. New York, NY: The Metropolitan Museum of Art, 1972. p. 132, ill. fig. 13 (b/w).
Ettinghausen, Richard. "Islamic Art." Metropolitan Museum of Art Bulletin vol. 33, no. 1 (Spring 1975). p. 43, ill. p. 43 (b/w).
Hristoff, Peter. "An Art Reborn." In Iznik: Legendary Ceramics from Turkey. New York, NY: School of Visual Arts, 2004. p. 22, ill. (color).
Ekhtiar, Maryam, Sheila R. Canby, Navina Haidar, and Priscilla P. Soucek, ed. Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art. 1st ed. ed. New York: The Metropolitan Museum of Art, 2011. no. 215, pp. 3, 306, ill. p. 306 (color).