Syrian potters, like their counterparts in Iran, developed a version of black‑and‑blue underglaze‑painted ceramics, capitalizing on the properties of stonepaste to provide a white background. As on the Iranian examples, the contrast between the crisp elements painted in stable black pigment and the softer‑edged motifs executed in less stable blue pigment creates an attractive tension.
Marking: Sticker near foot: #97/$250
Estate of J. Zado Noorian, New York (until 1942; gifted to MMA)
Jenkins-Madina, Marilyn. "Ceramics of Ayyubid Syria." In Raqqa Revisited. New York; New Haven: The Metropolitan Museum of Art, 2006. pp. 160, 166-7, 222, ill. MMA45 (color), pp. 169, 173.