The whiteness of stonepaste provided a canvas upon which potters could paint pigments directly, rather than applying a slip. By the early thirteenth century, a new type emerged, decorated in black and blue against the white ground, usually with vegetal motifs inside radial frameworks. The stable black pigment creates crisp outlines and fine details, while the rather runny blue fills contours and highlights forms. Underglaze painting would have long‑term consequences on the development of Iranian ceramics.
[ E. Safani, New York, until 1964; sold to MMA]
New York. The Metropolitan Museum of Art. "The Nature of Islamic Ornament Part II: Vegetal Patterns," September 10, 1998–January 10, 1999, no catalogue.
Jenkins-Madina, Marilyn, Suzanne G. Valenstein, and Julia Meech-Pekarik. "The Metropolitan Museum of Art." In Oriental Ceramics: The World's Great Collections. vol. 12. Tokyo: The Metropolitan Museum of Art, 1977. pp. 271, 313, ill. pl. 87 (color), b/w profile.
Jenkins-Madina, Marilyn. "Islamic Pottery: A Brief History." Metropolitan Museum of Art Bulletin, New Series, vol. 40, no. 4 (Spring 1983). no. 23, p. 22, ill. pl. 23 (color).