The casting technique for this mirror, known as sand casting, was introduced to Iran from China around the mid-eleventh century. The form, with a prominent central knob from which it could be hung, is also inspired by Chinese models. However, the decoration— with an inscription bearing good wishes in Arabic, a ring of running animals, and a scrolling vegetal design— is drawn from the repertoire of Iran during the time of the Seljuqs.
Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.
Open Access
As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.
API
Public domain data for this object can also be accessed using the Met's Open Access API.
This artwork is meant to be viewed from right to left. Scroll left to view more.
Artwork Details
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
Title:Mirror
Date:12th century
Geography:Made in Iran
Medium:Bronze; cast, chased
Dimensions:D. 1 in. (2.5 cm) Diam. 7 5/8 in. (19.4 cm)
Classification:Metal
Credit Line:Rogers Fund, 1942
Accession Number:42.136
Mirror
Like most of the metalwork objects exhibited here, the elaborate decoration on the back of this mirror shows that it was made for a person of wealth. Similar mirrors with different decorations on the back (astrological signs, lions, etc.) from the same period come also from northern Mesopotamia and southern Anatolia. This mirror is made of cast bronze and is decorated with three concentric registers around a central boss; it is surrounded by an everted rim. The central boss is pierced and has eight lobes ending in a petal-like base. The inner register has a trevoil scroll. The middle one shows six running animals against leaf scrolls. The animals can be identified from right to left as a hare, whose head is turned back to look at the dog stalking him; an antilope pursued by a lion, and a fox running in front of a hound. The decoration of the outer register consists of a foliated Kufic inscription that includes twelve good wishes for the owner: "Blessing, suspiciousness, joy, happiness, dignity, victory, uprightness, support, strenghtening, authority, praise, and survival to its owner." There may be some connection between the images of the animals and the meaning of the good wishes since the number of the wishes is twice that of the animals.
Abdallah Kahil in [Walker et al. 1994]
Inscription: On exterior register in Arabic in foliated kufic script, twelve good wishes for the owner:
برکة و یمن و سرور و سعادة و کرامة و نصر و استقامة و تایید و تمکین و سلطان و ثنا و بقا لصاحبه Blessing, joy, happiness, felicity, dignity, victory, uprightness, support, strengthening, authority, praise, and survival to its owner (Yassir al-Tabba, 1978)
Arabic inscription in foliated kufic script:
برکة و یمن و سرور و سعادة و کرامة و نصر و استقامة و تایید و تمکین و سلطان و ثنا و بقا لصاحبه
(A.Ghouchani, 2010)
[ Demotte, Inc., New York, in 1931]; [ Heeramaneck Galleries, New York, until 1942; sold to MMA]
London. Burlington House. "International Exhibition of Persian Art," January 7, 1931–February 28, 1931, no. 229.
Mexico City. Colegio de San Ildefonso. "Arte Islámico del Museo Metropolitano de Arte de Nueva York," September 30, 1994–January 8, 1995, no. 76.
New York. The Hagop Kevorkian Special Exhibitions Gallery, The Metropolitan Museum of Art. "The Nature of Islamic Ornament Part I: Calligraphy," February 26–June 28, 1998, no catalogue.
New York. The Metropolitan Museum of Art. "Balcony Calligraphy Exhibition," June 1–October 26, 2009, no catalogue.
Wilson, Arnold T. Catalogue of the International Exhibition of Persian Art. 3rd. ed. London: Royal Academy of Arts, 1931. no. 229, p. 149.
Welch, Stuart Cary. The Islamic World. vol. 11. New York: The Metropolitan Museum of Art, 1987. p. 42, ill. fig. 28 (color).
Schimmel, Annemarie. "Islamic Calligraphy." Metropolitan Museum of Art Bulletin, n.s., vol. 50, no. 1 (Summer 1992). p. 9, ill. (b/w).
Metropolitan Museum of Art, Daniel S. Walker, Arturo Ponce Guadián, Sussan Babaie, Stefano Carboni, Aimee Froom, Marie Lukens Swietochowski, Tomoko Masuya, Annie Christine Daskalakis-Matthews, Abdallah Kahil, and Rochelle Kessler. "Colegio de San Ildefonso, Septiembre de 1994–Enero de 1995." In Arte Islámico del Museo Metropolitano de Arte de Nueva York. Mexico City: Consejo Nacional para la Cultura y las Artes, 1994. no. 76, pp. 196–97, ill. (b/w).
Baker, Patricia L., and Barbara Brend, ed. "Studies in Honour of Professor Géza Fehérvari." In Sifting Sands, Reading Signs. London: Furnace Publishing, 2006. p. 165, ill. fig. 4 (b/w).
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Met's collection of Islamic art is one of the most comprehensive in the world and ranges in date from the seventh to the twenty-first century. Its more than 15,000 objects reflect the great diversity and range of the cultural traditions from Spain to Indonesia.
