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Title:Basket Earring
Date:11th–12th century
Geography:Attributed to Egypt or Syria
Medium:Gold, silver (?); decorated with filigree and granulation
Dimensions:Ht. 3/8 in. (1 cm) W. 3/8 in. (1 cm) D. 3/8 in. (1 cm)
Classification:Jewelry
Credit Line:The Cesnola Collection, purchased by subscription, 1874–76
Object Number:74.51.3607
Basket Type Earrings: MMA nos. 35.29.5,.6, 1970.70.1,.2, 74.51.3607 and 17.192.97
There are in the Museum two pairs of earrings and two single earrings that exemplify the so-called basket type. Each of the two pairs is constructed of five hemispheres decorated with twisted wire and granulation; each hemisphere bears four groups of three grains and is surmounted by a single grain on a twisted wire circle. The top of each earring is strengthened by means of a wide, flat ring of gold to which is attached the ear wire. The larger pair (nos. 1970.70.1,.2 ) bears the more complex decoration, with areas of the design pierced as on the truncated pyramidal element (see MMA 17.192.82,.83), and the interstices between the large hemispheres bearing smaller versions of the same form.
The two single earrings are variations of the same type. No. 74.51.3607 incorporates one small and three large hemispheres with three interstitial areas bearing a heart-shape element fashioned of flat wire. No. 17.192.97 incorporates three hemispheres (with the same, now flattened crenelation as on no. 74.51.3607) that, together with the interstitial areas, are formed of filigree imbrication.
A number of facts pertinent to the place of origin of these earrings may here be enumerated since the basket type is usually designated as Byzantine and is assigned dates ranging from the sixth century to the eleventh century. On the one hand, two other pairs of earrings that were undoubtedly manufactured in early medieval Iran are constructed in a way very similar to nos. 74.51.3607 and 17.192.97, including even the wide, flat ring of gold at the top;[1] on the other, earrings found in Syria also have a similar configuration,[2] have pierced decoration (National Museum, Damascus, 5882), and make structural and practical use of a wide, flat ring at the top.[3] The use of small hemispheres as interstitial decoration occurs on basket earrings found in Syria as well as on those found in Iran.[4] Further indication of the spreading of the type is an earring found in Egypt having the same crenelated edge consisting of a contiguous series of three grains as seen on 74.51.3607 and 17.192.97, as well as a wide, flat ring at the top (Museum of Islamic Art, Cairo, 13280). Another earring (from Egypt) is identical to no. 17.192.97 except that the walls are formed of S-curves rather than imbrication (Museum of Islamic Art, Cairo, 1329). Another earring of this type is constructed in the classical Fatimid (Egyptian or Syrian) style and technique of twisted wire filigree surmounted by a tracery of fine granulation (Cleveland Museum of Art, 48.21). In addition, there is a group of earrings that show the amalgamation of the shape and imbrication of no. 17.192.97, with the typical Fatimid style and granulated filigree technique (Museum of Islamic Art, Cairo, 13280).
On the basis of this information, it is clear that the precise provenance of these earrings must remain an open question, and the possibility must be entertained that there was an international style in certain objects, and that in the early medieval period the basket type of earring in its many variations enjoyed a vogue from Egypt to Iran.
It should be pointed out that during practically the entire period in question (c. 1000–1258), Baghdad was the capital of the Abbasid caliphate, as indeed it had been since the mid-eighth century A.D. Although the political unity of the empire had already broken down by the beginning of the eleventh century, Baghdad was still cultural capital par excellence of the Islamic world, and many of its fashions were emulated in the provinces. Thus, unless Iraq imported all its jewelry, which seems highly unlikely, we still must find or isolate this group, which may very well have included some of the best pieces made during the period and which could have given rise to any number of provincial copies. This may in fact account for the existence of what we have termed an international style.
[Jenkins and Keene 1983]
Footnotes:
1. Jenkins, Marilyn, and Keene, Manuel. "Djawhar." The Encyclopaedia of Islam, supplement to vol. 2, fasc. 3-4. Leiden, 1982, fig. 9, and forthcoming; New York art market.
2. Ross, Heather Colyer. Bedouin Jewellery in Saudi Arabia. London, 1978, fig. 44.
3. ibid.
4. Collection Helene Stathatos. Athens, 1971. vol. 4, 1971, p. 66, pl. XV; New York and European art markets.
Luigi Palma di Cesnola (American)(until 1874; sold to MMA)
New York. The Metropolitan Museum of Art. "Islamic Jewelry in The Metropolitan Museum of Art," April 22–August 14, 1983, no. 39c.
Jenkins-Madina, Marilyn, and Manuel Keene. Islamic Jewelry in the Metropolitan Museum of Art. New York, 1983. no. 39c, p. 71, ill. (b/w).
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