2d:I[858142,["/_next/static/immutable/chunks/255piilrawf4-.js","/_next/static/immutable/chunks/0xb2gyr70_77n.js","/_next/static/immutable/chunks/308r35hpzorn7.js","/_next/static/immutable/chunks/3k-s6obdbo2zm.js","/_next/static/immutable/chunks/1c_etcrun1f_f.js","/_next/static/immutable/chunks/32kc6dnh25_mn.js","/_next/static/immutable/chunks/1imbdjg3hw3xb.js","/_next/static/immutable/chunks/1wthql338je_f.js","/_next/static/immutable/chunks/1f_3ajg9rx1_p.js","/_next/static/immutable/chunks/3170khdsynuq5.js","/_next/static/immutable/chunks/0qa3qvmxdmnwk.js","/_next/static/immutable/chunks/144e0g-b2a-re.js","/_next/static/immutable/chunks/2eb0nvgade691.js","/_next/static/immutable/chunks/1lahl02ts30va.js","/_next/static/immutable/chunks/3csk620o8wwe8.js","/_next/static/immutable/chunks/20s5xy80rbxjj.js","/_next/static/immutable/chunks/0z3z5x8oyn2re.js"],"default"] 30:I[25855,["/_next/static/immutable/chunks/255piilrawf4-.js"],"IconMark"] 2e:T433, Fragment of an architectural inscription frieze The variety of materials unearthed in the Metropolitan's excavations at Nishapur during the 1930s and 1940s indicates that it was one of the centers for the rediscovery of the secrets of making man-made composite-bodied ceramic wares (faience), which probably began in the eleventh century. Not only were kilns for firing this type of ware excavated that contained glaze materials, kiln furniture, and wasters, but a number of architectural fragments were also found that seem to represent transitional phases between the terra-cotta decoration associated with the Seljuk and Ghaznavid schools and the glazed tiles of later centuries. Some combine in a single piece unglazed (sometimes painted) and glazed areas. This fragment is from a fully developed glazed type of frieze, entirely covered with the turquoise glaze, although this frieze may have been set into a terra-cotta facade. The inscription is too fragmentary for identification, but part of the word "Allah" is clear. Manuel Keene in [Berlin 1981]2f:Td01, Dado Panel The room in Nishapur, Iran, from which this dado panel was excavated once had a lively scheme of painted decoration. The upper section of the wall was colored a deep red, beneath which was a short horizontal frieze of hexagons and diamonds, and a four-foot-high dado with alternating rectangular and square panels. Each dado panel was framed with red, blue, and white lines; the rectangular panels contained a diamond or lozenge-shaped pattern filled with a design akin to quarter-sawn marble or fish scales, and the square panels featured a motif composed of a variety of feathery shapes, scale-covered elements, and interlaced ribbons ending in stylized eyes and hands. These patterns were executed in shades of blue, red, yellow, and brown.[1] The section of Nishapur where this panel was found was known locally as Tepe Madrasa; judging from its modern name, the Metropolitan Museum’s archaeologists had hoped to find one of Nishapur’s famed institutions of learning, or madrasas. During the excavations of 1938–40, they instead uncovered a large residential area with a mosque that had been developed and rebuilt in several phases between the ninth and twelfth centuries. It is within one of the residences in this area that this panel was discovered, inside a room measuring approximately sixteen by nineteen feet (roughly five by six meters). The excavators later determined that the building from which the painted dadoes were extracted dated to the ninth century, and suggested that the room was once part of the Tahirid-period palaces mentioned in historical sources.[2] The panel here and the numerous other examples found at Nishapur, all in different styles, are the earliest known examples of wall painting from the Islamic period in Iran. While the meaning of this panel’s decoration remains an enigma, most scholars believe that its imagery had an apotropaic function. One hypothesis is that the eye and hand symbols derived from representations of the "hand of God," but it has also been argued that the iconography should be linked to pre-Islamic bird-snake motifs that were believed to represent the souls of the deceased.[3] Either of these interpretations makes it unlikely that the room containing these panels was part of a palace, although so far there are no other indications of its function, as the excavators suggested. Marika Sardar in [Ekhtiar, Soucek, Canby, and Haidar 2011] Footnotes: 1. Of the dado surface that the excavators uncovered, it was possible to preserve only two square and two rectangular panels; one set went to the Iran Bastan Museum, Tehran, and one set came to the Metropolitan Museum. See Wilkinson 1986, pp. 159–84. The structure where these panels were found is labeled "W20." 2. For an evolving discussion and identification of the site, see Hauser and Wilkinson 1942, pp. 97–100; Bulliet 1976, p. 75; Wilkinson 1986, p. 181; and Sims et al 2002, p. 28. 3. Wilkinson 1986, p. 173; and Rührdanz, Karin. "Zur Ikonographie der Wandmalereien in Tepe Madraseh (Nishapur)." In Proceedings of the Second European Conference of Iranian Studies held in Bamberg, 30th September to 4th October 1991, by the Societas Iranologica Europaea, edited by Bert G. Fragner, pp. 589–95. Serie orientale Roma, 73. Rome, 1995 , p. 593.7:["$","$L2d",null,{"title":"Architectural Decoration Finds","subtitle":null,"about":null,"suggestedLinks":null,"announcements":[],"segments":[{"name":"The Met Collection","path":"/art/collection"},{"name":"Architectural Decoration Finds","path":""}],"objectPackage":{"id":849,"title":"Architectural Decoration Finds","objects":[{"id":449135,"objectID":449135,"titles":{"primary":{"title":"Fragment of a Glazed Tile Inscription"}},"artists":{"primary":null,"all":[]},"period":"","date":"12th–13th century","extendedStatuses":["accessioned"],"culture":"","medium":"Stonepaste; carved decoration under opaque monochrome glaze","dimensions":"H. 11 in. (27.9 cm)
W. 10 in. (25.4 cm)","creditLine":"Rogers Fund, 1937","accessionNumber":"37.40.24","rightsAndReproduction":null,"webLabel":"This fragment, which includes three letters of the word \"Allah,\" would have been part of a long horizontal band forming part of the decoration on the facade of a presumably religious building. Glazed tiles, especially in light or turquoise blue, were readily available from cobalt deposits in Iran and became popular in this region as early as the twelfth century, gradually replacing carved stucco as the favored medium for architectural decoration.","images":{"primary":{"openAccess":true,"objectID":449135,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449135/906709/main-image","altText":"Fragment of a Glazed Tile Inscription, Stonepaste; carved decoration under opaque monochrome glaze"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"This fragment, which includes three letters of the word \"Allah,\" would have been part of a long horizontal band forming part of the decoration on the facade of a presumably religious building. Glazed tiles, especially in light or turquoise blue, were readily available from cobalt deposits in Iran and became popular in this region as early as the twelfth century, gradually replacing carved stucco as the favored medium for architectural decoration."},{"textEntry":"$2e"},{"textEntry":"\r\nFragment of a turquoise-glazed frieze tile with inscription\r\n\r\nThis tile was found at a mound in Nishapur during the excavations conducted by The Metropolitan Museum of Art in the 1930s and 1940s. The upper and lower parts of this tile are missing. Its body is thick and is carved in high relief. Standing out from the background relief of vegetal scrolls, the inscription is probably a quotation from the Qur'an, and seems to read: .. Allah cinda(hu)... \"...God close to him...,\" a phrase so common in the Qur'an that it is not possible to establish its exact collocation or from which sura, or chapter, of the Qur'an it was copied. It is nevertheless clear that this tile used to adorn a religious building.\r\n\r\n[Carboni and Masuya 1993]"}],"exhibitionLabels":[]},{"id":449149,"objectID":449149,"titles":{"primary":{"title":"Dado Panel"}},"artists":{"primary":null,"all":[]},"period":"","date":"10th century","extendedStatuses":["accessioned"],"culture":"","medium":"Stucco; carved","dimensions":"H. 37 1/2 in. (95.3 cm)
W. 92 5/8 in. (235 cm)
D. 3 1/2 in. (8.9 cm)
Frame D. 2 1/2 in. (6.4 cm)
Wt. 418 lbs. (189.6 kg)","creditLine":"Rogers Fund, 1937","accessionNumber":"37.40.40","rightsAndReproduction":null,"webLabel":"This carved plaster panel comes from an elaborately decorated house excavated at Nishapur, which had panels decorating the lower part of the wall (called the dado) in several rooms. The panels were originally painted in bright yellows, reds, and blues, with equally colorful murals on the plaster walls above. However, once the excavated panels were exposed to air, the bright colors quickly disappeared. It appears that to create these dado panels, a thin layer of stucco was applied to the wall and the design was sketched out using a compass and other drawing tools. Then the design was carved into the surface by hand. This is different from the findings at other sites, where it appears that large panels of stucco were made from a mold and then attached to the wall with the designs already impressed on them.","images":{"primary":{"openAccess":true,"objectID":449149,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449149/906833/main-image","altText":"Dado Panel, Stucco; carved"}},"location":{"gallery":"452","onView":true},"textEntries":[{"textEntry":"This carved plaster panel comes from an elaborately decorated house excavated at Nishapur, which had panels decorating the lower part of the wall (called the dado) in several rooms. The panels were originally painted in bright yellows, reds, and blues, with equally colorful murals on the plaster walls above. However, once the excavated panels were exposed to air, the bright colors quickly disappeared. It appears that to create these dado panels, a thin layer of stucco was applied to the wall and the design was sketched out using a compass and other drawing tools. Then the design was carved into the surface by hand. This is different from the findings at other sites, where it appears that large panels of stucco were made from a mold and then attached to the wall with the designs already impressed on them."}],"exhibitionLabels":[]},{"id":449458,"objectID":449458,"titles":{"primary":{"title":"Wall Painting with Female Figure"}},"artists":{"primary":null,"all":[]},"period":"","date":"9th–10th century","extendedStatuses":["accessioned"],"culture":"","medium":"Stucco; painted","dimensions":"H. 9 1/2 in. (24.1 cm)
W. 10 1/4 in. (26 cm)
mount:
H. 11 in. (27.9 cm)
W. 10 5/16 (26.2 cm)","creditLine":"Rogers Fund, 1938","accessionNumber":"38.40.248","rightsAndReproduction":null,"webLabel":"Along with several other intriguing fragments, this piece of wall painting was discovered in the drain in one of the houses of the Sabz Pushan neighborhood. All of the discarded fragments bore images of people or demon-like figures, but in their broken state, it was difficult to determine what kind of scene they originally composed. Wall paintings are fragile and rarely survive, but evidence from sites throughout Iran and Central Asia demonstrate their popularity in the medieval period. The varied examples of wall painting found at Nishapur—such as a hunting scene with male and female heads from the bathhouse at Qanat Tepe, the dados with scrolls terminating in human hands from Tepe Madrasa, and a mounted hunter a standing figure to his left found at the Vineyard Tepe—are therefore extremely important to the study of this medium.","images":{"primary":{"openAccess":true,"objectID":449458,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449458/906794/main-image","altText":"Wall Painting with Female Figure, Stucco; painted"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"Along with several other intriguing fragments, this piece of wall painting was discovered in the drain in one of the houses of the Sabz Pushan neighborhood. All of the discarded fragments bore images of people or demon-like figures, but in their broken state, it was difficult to determine what kind of scene they originally composed. Wall paintings are fragile and rarely survive, but evidence from sites throughout Iran and Central Asia demonstrate their popularity in the medieval period. The varied examples of wall painting found at Nishapur—such as a hunting scene with male and female heads from the bathhouse at Qanat Tepe, the dados with scrolls terminating in human hands from Tepe Madrasa, and a mounted hunter a standing figure to his left found at the Vineyard Tepe—are therefore extremely important to the study of this medium."}],"exhibitionLabels":[]},{"id":449462,"objectID":449462,"titles":{"primary":{"title":"Element from a Stalactite Squinch (Muqarnas)"}},"artists":{"primary":null,"all":[]},"period":"","date":"10th century","extendedStatuses":["accessioned"],"culture":"","medium":"Stucco; painted","dimensions":"H. 12 1/4 in. (31.1 cm)
W. 7 3/4 in. (19.7 cm)
D: 3 3/4 in. (9.6 cm)","creditLine":"Rogers Fund, 1938","accessionNumber":"38.40.252","rightsAndReproduction":null,"webLabel":"Probably originally part of a muqarnas, or stalactite squinch, this and other muqarnas elements would have been stacked, in descending size, in the upper corner of a room in order to make the transition to a dome. This, together with objects 38.40.249–38.40.251 are among the earliest known examples of muqarnas, a feature that became quite popular in Islamic architecture in subsequent centuries. The painting on these elements is intriguing, with disembodied eyes that peer out from the vegetal decoration.","images":{"primary":{"openAccess":true,"objectID":449462,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449462/907341/main-image","altText":"Element from a Stalactite Squinch (Muqarnas), Stucco; painted"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"Probably originally part of a muqarnas, or stalactite squinch, this and other muqarnas elements would have been stacked, in descending size, in the upper corner of a room in order to make the transition to a dome. This, together with objects 38.40.249–38.40.251 are among the earliest known examples of muqarnas, a feature that became quite popular in Islamic architecture in subsequent centuries. The painting on these elements is intriguing, with disembodied eyes that peer out from the vegetal decoration."}],"exhibitionLabels":[]},{"id":449862,"objectID":449862,"titles":{"primary":{"title":"Painted Dado Panels"}},"artists":{"primary":null,"all":[]},"period":"","date":"9th century","extendedStatuses":["accessioned"],"culture":"","medium":"Stucco; painted","dimensions":"H. 40 3/8 in. (102.6 cm)
W. 53 1/2 in. (135.9 cm)
D. 2 in. (5.1 cm)
Wt. 195 lbs. (88.5 kg)","creditLine":"Rogers Fund, 1940","accessionNumber":"40.170.176","rightsAndReproduction":null,"webLabel":"This dado panel was excavated from a room in the Tepe Madrasa area of Nishapur that once had a lively scheme of painted decoration. The upper section of the wall was colored a deep red, followed by a short horizontal frieze of hexagons and diamonds underneath, and then this four-foot high dado with a frieze of alternating square and rectangular panels. Each panel in the dado was framed with blue, red, and white lines; the rectangular panels were filled with a pattern akin to quartersawn marble, and the square panels had a variety of feathery shapes, scale-covered elements, and interlaced ribbons ending in stylized eyes and hands. This symbolism has no known parallels outside Nishapur, although amulets in the shape of eyes and hands were used to ward off the evil eye. It seems unlikely, however, that this basic interpretation encompasses the whole meaning of the present work.","images":{"primary":{"openAccess":true,"objectID":449862,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449862/907616/main-image","altText":"Painted Dado Panels, Stucco; painted"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"This dado panel was excavated from a room in the Tepe Madrasa area of Nishapur that once had a lively scheme of painted decoration. The upper section of the wall was colored a deep red, followed by a short horizontal frieze of hexagons and diamonds underneath, and then this four-foot high dado with a frieze of alternating square and rectangular panels. Each panel in the dado was framed with blue, red, and white lines; the rectangular panels were filled with a pattern akin to quartersawn marble, and the square panels had a variety of feathery shapes, scale-covered elements, and interlaced ribbons ending in stylized eyes and hands. This symbolism has no known parallels outside Nishapur, although amulets in the shape of eyes and hands were used to ward off the evil eye. It seems unlikely, however, that this basic interpretation encompasses the whole meaning of the present work."},{"textEntry":"$2f"}],"exhibitionLabels":[]},{"id":449599,"objectID":449599,"titles":{"primary":{"title":"Fragment of a Frieze"}},"artists":{"primary":null,"all":[]},"period":"","date":"11th century","extendedStatuses":["accessioned"],"culture":"","medium":"Terracotta; carved, painted","dimensions":"H. 18 3/4 in (47.6 cm)
W. 34 in. (86.4 cm)
D. 3 in (7.6 cm)
Wt. 91 lbs. (41.3 kg)","creditLine":"Rogers Fund, 1939","accessionNumber":"39.40.67","rightsAndReproduction":null,"webLabel":"Found in the area around the Tepe Madrasa mosque in Nishapur, this terracotta panel features an octagonal pattern with a star at its center. Remains of pigment on the surface suggest that the background was colored with red and blue, while the geometric shapes in the foreground were shaded in white. Terracotta, usually in the form of bricks, was used as a decorative material throughout Iran before being replaced by glazed tiles. At Nishapur, many fragments of large panels of terracotta carved with different types of designs provide evidence of yet another form of architectural decoration.","images":{"primary":{"openAccess":true,"objectID":449599,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449599/906826/main-image","altText":"Fragment of a Frieze, Terracotta; carved, painted"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"Found in the area around the Tepe Madrasa mosque in Nishapur, this terracotta panel features an octagonal pattern with a star at its center. Remains of pigment on the surface suggest that the background was colored with red and blue, while the geometric shapes in the foreground were shaded in white. Terracotta, usually in the form of bricks, was used as a decorative material throughout Iran before being replaced by glazed tiles. At Nishapur, many fragments of large panels of terracotta carved with different types of designs provide evidence of yet another form of architectural decoration."}],"exhibitionLabels":[]},{"id":449951,"objectID":449951,"titles":{"primary":{"title":"Fragment of a Painted Cornice Panel with Scrolling Vines"}},"artists":{"primary":null,"all":[]},"period":"","date":"11th century","extendedStatuses":["accessioned"],"culture":"","medium":"Stucco; carved and painted","dimensions":"H. 32 3/8 in. (82.2 cm)
W. 6 3/8 in. (16.2 cm)
D. 5 3/8 in. (13.7 cm)
Wt. 24 lbs. (10.9 kg)","creditLine":"Rogers Fund, 1940","accessionNumber":"40.170.267","rightsAndReproduction":null,"webLabel":"Although made of the same material as many other panels from Nishapur, this painted stucco fragment displays a different kind of design and was probably made from a mold rather than carved by hand. The design here consists of a scrolling vine ending in a split-leaf palmette carved with triangular shapes grouped to form hexagons. The background is painted red, the vines blue, and the palmette leaves white.","images":{"primary":{"openAccess":true,"objectID":449951,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449951/906827/main-image","altText":"Fragment of a Painted Cornice Panel with Scrolling Vines, Stucco; carved and painted"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"Although made of the same material as many other panels from Nishapur, this painted stucco fragment displays a different kind of design and was probably made from a mold rather than carved by hand. The design here consists of a scrolling vine ending in a split-leaf palmette carved with triangular shapes grouped to form hexagons. 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