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/3e863s_w-yvmx.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/2r_imi_jc_sd2.js","/_next/static/immutable/chunks/3csk620o8wwe8.js","/_next/static/immutable/chunks/2ql7skq0s6q04.js","/_next/static/immutable/chunks/0z3z5x8oyn2re.js"],"default"] 31:I[25855,["/_next/static/immutable/chunks/255piilrawf4-.js"],"IconMark"] 2e:Tece, Fragmentary Plate This shallow plate has a plain rim with a rounded edge. The wall curves down and in, with a depression ( diam. 4 cm [1 5/8 in.]) at the center of the floor. Most of the floor is missing; similar plates have either a plain base or three applied feet (see, for example, Smith 1957, no. 605). The exterior has one continuous horizontal trail at the junction of the wall and the floor. The interior is almost completely covered with engraved decoration arranged in four concentric bands with a roundel at the center. The outermost band is narrow and consists of a groundline supporting small, roughly semicircular scalelike elements, in which scales filled with transverse hatching alternate with scales that are empty except for a short transverse dash. The second, wider band, which has inner and outer borders,contains two ribbons twisted into a cable on a hatched background. The third band, the widest of all and with inner and outer borders, is divided into six equal compartments by radiating rows of bordered contiguous circles, which are alternately hatched and empty except for a single short dash. Inside the compartments, two designs alternate. The first consists of crowded sprays of leaves with transverse hatching and berries that appear to be of multiple or aggregate form. The second design is divided into three triangles by double borders. The triangle at the center, with apex pointing toward the rim, contains a palmate leaf with five branches on a coiled stem. The other triangles have allover patterns of rhomboids that alternately are hatched or contain one short dash. The innermost band, which is narrow and framed by borders, contains a chain of contiguous circles with either transverse hatching or short dashes. Apart from the border, nothing of the central roundel survives. Chemical analysis has revealed that the material here is a soda:lime:silica glass made with plant ash (Brill 1999a, vol. 1, p. 96, vol. 2, p. 196 [sample 6365]). Robert H. Brill compared this object with two fragments at Corning (55.1.110 and 55.1.111), both of which come from deep blue plates or bowls decorated on the inside with a central roundel and concentric bands of ornament. In both those cases, the glass was made with plant ash (Brill1999a, vol. 1, p. 96, vol. 2, p. 196 [samples 6349, 6350 ]). It has been suggested that the palmate leaf is that of the hemp plant, Cannabis sativa (Brill1993, p. 63, n. 14), or the Chinese maple. Perhaps the other leaves and the berries are those of the white mulberry tree, Morus alba, the preferred food of silkworms. Palmate leaves with five branches occur on at least four other scratch-engraved vessels that are similar to this object. All four are among the treasures concealed in the crypt of the Famen Temple (Famensi), in northeastern China, in 874; one has four such leaves on coiled stems (An 1991, pp. 126-29, figs. 3, 5, 7, 8; Koch 1995, p. 500, fig. 41.2 and pl. 138.2). David Whitehouse in [Carboni and Whitehouse 2001] References: Jiayao An. "Dated Islamic Glass in China." Bulletin of the Asia Institute, n.s., 5 (1991), pp. 123–37. Robert H. Brill. "Glass and Glassmaking in Ancient China, and Some Other Things from Other Places." Journal (Glass Art Society] (1993), pp. 56–69. Robert H. Brill. Chemical Analyses of Early Glasses. 2 vols. Vol. 1, Catalogue of Samples. Vol. 2, Tables of Analyses. Coming, N.Y., 1999. Alexander Koch. "Der Goldschatzfund des Famensi: Prunk und Pietiit im chinesischen Buddhismus der Tang-Zeit." Jahrbuch des Römisch-Germanischen Zentralmuseums Mainz 42 (I995), pp. 403–542. Ray Winfield Smith. Glass from the Ancient World: The Ray Winfield Smith Collection. Exh. Cat. The Corning Museum of Glass. Corning. N.Y., 1957.2f:Teae,Cobalt blue was popular on certain types of ninth-century Iraqi pottery, but never on early Nishapur ceramics, and so this bowl has been attributed to Iraq or perhaps western Iran. Interestingly, the cobalt wares of Iraq, with their stark white, tin-opacified grounds, were made in imitation of Chinese porcelains with blue designs.

This bowl was excavated at the site of Qanat Tepe in Nishapur. Nishapur was a vital city in the early and middle Islamic periods, located along one of the main trajectories that connected Iran and West Asia Islamic lands with Central Asia and China. The term "Silk routes" often refers to these itineraries, but these were, in fact, crucial to the movement of constellations of materials and objects, as well as people and ideas. The diverse population of Nishapur and its surroundings, from the better-researched elite groups of merchants, land-owning aristocracy, and literates, to the lesser-known artisans, farmers, miners, and servants, were instrumental to adapting global cultural trends that led to the creation of a distinctive visual language. This is seen in the material remains of everyday life in medieval Nishapur – from pots and pans to lighting devices, inkwells, textiles and trimmings, jewelry, games and toys, talismanic devices, weapons, coins, and architectural fragments.

Nishapur lost its political prominence due to a series of earthquakes and invasions that peaked in the thirteenth century. Today, the medieval city is a vast archaeological area, while the relatively small modern city is situated to its north. Instead, Mashhad, a major pilgrimage site, emerged as a significant prosperous metropolis in the region. Between 1935 and 1948, the "Persian Expedition" of the Metropolitan Museum of Art excavated at several sites at Nishapur under an agreement with the Iranian authorities. The recovered artifacts were divided in half between the two countries, resulting in a repository of over four thousand objects at the Met today.

As part of the larger "Persian Expedition" project at Nishapur, American archaeologists and hundreds of Iranian workers excavated a mound they named Qanat Tepe, where an accidental finding of painted plaster solicited further investigation. The area showed several centuries of occupation, which the excavators were unable to fully explain. Most of the uncovered buildings were medium-sized residential structures, rooms with plain, plastered floors, and fireplaces and wells. In three of these rooms semi-circular niches puzzled the archaeologists, who associated them with mihrabs. They may have been used as wall storage or to display objects. Archaeologists also discovered a multi-period mosque in the northwestern area of the Qanat Tepe. It had a square mihrab flanked by engaged columns with colorful painted patterns of rosettes and quatrefoils, for which a very tentative tenth-century dating was suggested.

Both the northern and the southern areas of the Qanat Tepe provided more reliable evidence of its twelfth-century function. On the north, production debris such as wasters and glass slags indicated the presence of a kiln (likely disappeared due to modern activities at the site). The presence of stone paste, including high relief, glazed architectural tiles, and sphero-conical vessels support this suggested function. To the south of the mound, a bathhouse with multiple rooms, pools, and hot water areas, bore evidence of constant repainting of its walls, which were made with a hydraulic plaster suitable for such a humid environment. Amongst the many sophisticated and large-sized depictions were those of a horseman, a fox, or a dog, as well as innumerable fragments depicting animals and human figures.30:Te96,Cobalt blue was popular on certain types of ninth-century Iraqi pottery, but never on early Nishapur ceramics, and so this bowl has been attributed to Iraq or perhaps western Iran. Interestingly, the cobalt wares of Iraq, with their stark white, tin-opacified grounds, were made in imitation of Chinese porcelains with blue designs. This bowl was excavated at the site of Qanat Tepe in Nishapur. Nishapur was a vital city in the early and middle Islamic periods, located along one of the main trajectories that connected Iran and West Asia Islamic lands with Central Asia and China. The term "Silk routes" often refers to these itineraries, but these were, in fact, crucial to the movement of constellations of materials and objects, as well as people and ideas. The diverse population of Nishapur and its surroundings, from the better-researched elite groups of merchants, land-owning aristocracy, and literates, to the lesser-known artisans, farmers, miners, and servants, were instrumental to adapting global cultural trends that led to the creation of a distinctive visual language. This is seen in the material remains of everyday life in medieval Nishapur – from pots and pans to lighting devices, inkwells, textiles and trimmings, jewelry, games and toys, talismanic devices, weapons, coins, and architectural fragments. Nishapur lost its political prominence due to a series of earthquakes and invasions that peaked in the thirteenth century. Today, the medieval city is a vast archaeological area, while the relatively small modern city is situated to its north. Instead, Mashhad, a major pilgrimage site, emerged as a significant prosperous metropolis in the region. Between 1935 and 1948, the "Persian Expedition" of the Metropolitan Museum of Art excavated at several sites at Nishapur under an agreement with the Iranian authorities. The recovered artifacts were divided in half between the two countries, resulting in a repository of over four thousand objects at the Met today. As part of the larger "Persian Expedition" project at Nishapur, American archaeologists and hundreds of Iranian workers excavated a mound they named Qanat Tepe, where an accidental finding of painted plaster solicited further investigation. The area showed several centuries of occupation, which the excavators were unable to fully explain. Most of the uncovered buildings were medium-sized residential structures, rooms with plain, plastered floors, and fireplaces and wells. In three of these rooms semi-circular niches puzzled the archaeologists, who associated them with mihrabs. They may have been used as wall storage or to display objects. Archaeologists also discovered a multi-period mosque in the northwestern area of the Qanat Tepe. It had a square mihrab flanked by engaged columns with colorful painted patterns of rosettes and quatrefoils, for which a very tentative tenth-century dating was suggested. Both the northern and the southern areas of the Qanat Tepe provided more reliable evidence of its twelfth-century function. On the north, production debris such as wasters and glass slags indicated the presence of a kiln (likely disappeared due to modern activities at the site). The presence of stone paste, including high relief, glazed architectural tiles, and sphero-conical vessels support this suggested function. To the south of the mound, a bathhouse with multiple rooms, pools, and hot water areas, bore evidence of constant repainting of its walls, which were made with a hydraulic plaster suitable for such a humid environment. Amongst the many sophisticated and large-sized depictions were those of a horseman, a fox, or a dog, as well as innumerable fragments depicting animals and human figures.7:["$","$L2d",null,{"title":"Imports and Nishapur Craftsmen Finds","subtitle":null,"about":null,"suggestedLinks":null,"announcements":[],"segments":[{"name":"The Met Collection","path":"/art/collection"},{"name":"Imports and Nishapur Craftsmen Finds","path":""}],"objectPackage":{"id":853,"title":"Imports and Nishapur Craftsmen Finds","objects":[{"id":449824,"objectID":449824,"titles":{"primary":{"title":"Fragmentary Plate with Engraved Designs"}},"artists":{"primary":null,"all":[]},"period":"","date":"9th century","extendedStatuses":["accessioned"],"culture":"","medium":"Glass, blue; blown, applied trail, scratch-engraved","dimensions":"H. 9/16 in. (1.4 cm)
W. 10 5/8 in. (27 cm)
D. 8 in. (20.3 cm)","creditLine":"Rogers Fund, 1940","accessionNumber":"40.170.131","rightsAndReproduction":null,"webLabel":"The striking blue color of this plate was achieved by adding cobalt to the glass fabric, and its surface has been engraved with various patterns arranged in concentric registers around a central roundel. The circular hole at the center indicates the place where a foot was once attached. This plate is important evidence of the active glass trade from west to east during the ninth and tenth centuries. Probably made in Syria, it was imported to Nishapur where it was found in the prosperous Tepe Madrasa section of the city. The fact that six dishes of this type were found in the crypt of the Famen Temple in China demonstrates the far eastern reaches of the trade routes that passed through Nishapur. Furthermore, the evidence from this temple, whose crypt was sealed in 874, provides an ante quem date for our plate.","images":{"primary":{"openAccess":true,"objectID":449824,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449824/894031/main-image","altText":"Fragmentary Plate with Engraved Designs, Glass, blue; blown, applied trail, scratch-engraved"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"The striking blue color of this plate was achieved by adding cobalt to the glass fabric, and its surface has been engraved with various patterns arranged in concentric registers around a central roundel. The circular hole at the center indicates the place where a foot was once attached. This plate is important evidence of the active glass trade from west to east during the ninth and tenth centuries. Probably made in Syria, it was imported to Nishapur where it was found in the prosperous Tepe Madrasa section of the city. The fact that six dishes of this type were found in the crypt of the Famen Temple in China demonstrates the far eastern reaches of the trade routes that passed through Nishapur. Furthermore, the evidence from this temple, whose crypt was sealed in 874, provides an ante quem date for our plate."},{"textEntry":"$2e"}],"exhibitionLabels":[]},{"id":449732,"objectID":449732,"titles":{"primary":{"title":"Imitation Luster Bowl, inscribed \"Blessing\""}},"artists":{"primary":null,"all":[]},"period":"","date":"10th century","extendedStatuses":["accessioned"],"culture":"","medium":"Earthenware; white slip with monochrome slip decoration under transparent glaze","dimensions":"H. 2 9/16 in. (6.5 cm)
Diam. 9 5/16 in. (23.7 cm)","creditLine":"Rogers Fund, 1940","accessionNumber":"40.170.36","rightsAndReproduction":null,"webLabel":"This piece copies a known type of tenth-century monochrome luster-painted ware from Iraq, of which several fragments were found in the Nishapur excavations. Unlike the bowls from Iraq, whose shape is based on that of Chinese porcelains, the bowls made in Nishapur have straight walls and a flat base. It is inscribed with two instances of the word \"blessing\"—facing up on one side and down on the other.","images":{"primary":{"openAccess":true,"objectID":449732,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449732/906139/main-image","altText":"Imitation Luster Bowl, inscribed \"Blessing\", Earthenware; white slip with monochrome slip decoration under transparent glaze"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"This piece copies a known type of tenth-century monochrome luster-painted ware from Iraq, of which several fragments were found in the Nishapur excavations. Unlike the bowls from Iraq, whose shape is based on that of Chinese porcelains, the bowls made in Nishapur have straight walls and a flat base. It is inscribed with two instances of the word \"blessing\"—facing up on one side and down on the other."}],"exhibitionLabels":[]},{"id":449723,"objectID":449723,"titles":{"primary":{"title":"Imported Luster Bowl"}},"artists":{"primary":null,"all":[]},"period":"","date":"10th century","extendedStatuses":["accessioned"],"culture":"","medium":"Earthenware; luster-painted on an opaque white glaze","dimensions":"H. 1 1/2 in. (3.8 cm)
Diam. 4 5/8 in. (11.8 cm)","creditLine":"Rogers Fund, 1940","accessionNumber":"40.170.27","rightsAndReproduction":null,"webLabel":"This luster ware bowl represents just one of the ceramic types from Iraq that was found in Nishapur. Its true metallic sheen—derived from a technique not known to Nishapuri potters—confirms that it was made in Iraq, and its single color dates it to the tenth century. Together with other examples, this bowl is evidence of the active trade between the two regions once Nishapur was incorporated into the Abbasid empire in the eighth century. It does not appear that Nishapur ceramics were very popular in the west, though; they only seem to have traveled in the immediate vicinity of Samarqand, Herat, and Merv, and perhaps to Kirman in southeastern Iran.","images":{"primary":{"openAccess":true,"objectID":449723,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449723/906697/main-image","altText":"Imported Luster Bowl, Earthenware; luster-painted on an opaque white glaze"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"This luster ware bowl represents just one of the ceramic types from Iraq that was found in Nishapur. Its true metallic sheen—derived from a technique not known to Nishapuri potters—confirms that it was made in Iraq, and its single color dates it to the tenth century. Together with other examples, this bowl is evidence of the active trade between the two regions once Nishapur was incorporated into the Abbasid empire in the eighth century. It does not appear that Nishapur ceramics were very popular in the west, though; they only seem to have traveled in the immediate vicinity of Samarqand, Herat, and Merv, and perhaps to Kirman in southeastern Iran."}],"exhibitionLabels":[]},{"id":449547,"objectID":449547,"titles":{"primary":{"title":"Imitation Green-Splashed Samarra Ware"}},"artists":{"primary":null,"all":[]},"period":"","date":"9th–10th century","extendedStatuses":["accessioned"],"culture":"","medium":"Earthenware; painted in black with splashes of green on opaque white (tin) glaze","dimensions":"H. 2 1/2 in (6.3 cm)
Diam. 8 1/16 in. (20.5 cm)","creditLine":"Rogers Fund, 1939","accessionNumber":"39.40.10","rightsAndReproduction":null,"webLabel":"This bowl, with its opaque white ground, splashes of green glaze, and radial inscription, imitates a type of bowl made in Basra, Iraq, that was in turn based on Chinese prototypes. The inscription on this bowl, written with a purplish-black glaze rather than the cobalt blue used on Iraqi ceramics, identifies it as a Nishapur product.","images":{"primary":{"openAccess":true,"objectID":449547,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449547/907363/main-image","altText":"Imitation Green-Splashed Samarra Ware, Earthenware; painted in black with splashes of green on opaque white (tin) glaze"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"This bowl, with its opaque white ground, splashes of green glaze, and radial inscription, imitates a type of bowl made in Basra, Iraq, that was in turn based on Chinese prototypes. The inscription on this bowl, written with a purplish-black glaze rather than the cobalt blue used on Iraqi ceramics, identifies it as a Nishapur product."}],"exhibitionLabels":[]},{"id":449479,"objectID":449479,"titles":{"primary":{"title":"Fragment of an Imported Chinese Bowl"}},"artists":{"primary":null,"all":[]},"period":"","date":"late 7th–first half 8th century","extendedStatuses":["accessioned"],"culture":"","medium":"Earthenware; applied relief medallion under three color (sancai) glaze","dimensions":"Diam. 2 5/8 in. (6.7 cm)","creditLine":"Rogers Fund, 1938","accessionNumber":"38.40.274","rightsAndReproduction":null,"webLabel":"Chinese ceramics were highly valued and commonly imitated in Nishapur. The Nishapur imitations took different forms: the whiteness of the Chinese porcelains led local potters to develop the opaque white glazes with which they covered their wares, while the three-color sancai Chinese imports led to the invention of splashware, made by dripping brown, yellow, and green glazes over their pots. This medallion from the base of a bowl, with the molded image of a dragon with a flaming jewel, is an example of an imported Chinese sancai ware object; its find at Nishapur is an important piece of evidence in the story of Nishapuri pottery development.","images":{"primary":{"openAccess":true,"objectID":449479,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449479/907345/main-image","altText":"Fragment of an Imported Chinese Bowl, Earthenware; applied relief medallion under three color (sancai) glaze"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"Chinese ceramics were highly valued and commonly imitated in Nishapur. The Nishapur imitations took different forms: the whiteness of the Chinese porcelains led local potters to develop the opaque white glazes with which they covered their wares, while the three-color sancai Chinese imports led to the invention of splashware, made by dripping brown, yellow, and green glazes over their pots. This medallion from the base of a bowl, with the molded image of a dragon with a flaming jewel, is an example of an imported Chinese sancai ware object; its find at Nishapur is an important piece of evidence in the story of Nishapuri pottery development. "}],"exhibitionLabels":[]},{"id":449346,"objectID":449346,"titles":{"primary":{"title":"Imitation Bichrome Luster Bowl"}},"artists":{"primary":null,"all":[]},"period":"","date":"9th century","extendedStatuses":["accessioned"],"culture":"","medium":"Earthenware; white slip with polychrome slip decoration under transparent glaze","dimensions":"H. 2 7/16 in. (6.2 cm)
Diam. 8 1/8 in. (20.6 cm)","creditLine":"Rogers Fund, 1938","accessionNumber":"38.40.135","rightsAndReproduction":null,"webLabel":"The decoration of this bowl imitates a type of luster ceramic usually dated to the mid- to late ninth century, characterized by the use of two shades of a brownish-gold glaze. Instead of being made with the metal-based glaze of luster ware, though, this bowl is decorated with brown and yellow glazes made of diluted clay. Its interior is divided into quarters by projecting vertical strokes; each quadrant is decorated with the \"peacock-eye\" pattern so common on luster wares of this period.","images":{"primary":{"openAccess":true,"objectID":449346,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449346/906117/main-image","altText":"Imitation Bichrome Luster Bowl, Earthenware; white slip with polychrome slip decoration under transparent glaze"}},"location":{"gallery":"453","onView":true},"textEntries":[{"textEntry":"The decoration of this bowl imitates a type of luster ceramic usually dated to the mid- to late ninth century, characterized by the use of two shades of a brownish-gold glaze. Instead of being made with the metal-based glaze of luster ware, though, this bowl is decorated with brown and yellow glazes made of diluted clay. Its interior is divided into quarters by projecting vertical strokes; each quadrant is decorated with the \"peacock-eye\" pattern so common on luster wares of this period."}],"exhibitionLabels":[]},{"id":449348,"objectID":449348,"titles":{"primary":{"title":"Bowl with Green, Yellow, and Brown Splashed Decoration"}},"artists":{"primary":null,"all":[]},"period":"","date":"10th century","extendedStatuses":["accessioned"],"culture":"","medium":"Earthenware; white slip, incised and splashed with polychrome glazes under transparent glaze (sgraffito ware)","dimensions":"H. 2 7/8 in. (7.3 cm)
Diam. 10 1/4 in. (26 cm)","creditLine":"Rogers Fund, 1938","accessionNumber":"38.40.137","rightsAndReproduction":null,"webLabel":"This bowl is an example of the splashware made throughout Iraq, Iran, and western Central Asia, a type possibly inspired by Tang Chinese wares that were mainly decorated in a combination of green, yellow, and brown glazes. The addition of geometric and floral patterns, scratched into the surface of the bowl before the glazes were applied, is uniquely Iranian, and the vigorous yet refined drawing of the foliate forms makes this one of the finest splashed sgraffito pieces excavated.","images":{"primary":{"openAccess":true,"objectID":449348,"mainImageUrl":"https://collectionapi.metmuseum.org/api/collection/v1/iiif/449348/894127/main-image","altText":"Bowl with Green, Yellow, and Brown Splashed Decoration, Earthenware; white slip, incised and splashed with polychrome glazes under transparent glaze (sgraffito ware)"}},"location":{"gallery":"452","onView":true},"textEntries":[{"textEntry":"This bowl is an example of the splashware made throughout Iraq, Iran, and western Central Asia, a type possibly inspired by Tang Chinese wares that were mainly decorated in a combination of green, yellow, and brown glazes. The addition of geometric and floral patterns, scratched into the surface of the bowl before the glazes were applied, is uniquely Iranian, and the vigorous yet refined drawing of the foliate forms makes this one of the finest splashed sgraffito pieces excavated."}],"exhibitionLabels":[]},{"id":449543,"objectID":449543,"titles":{"primary":{"title":"Imported Cobalt-on-White Bowl"}},"artists":{"primary":null,"all":[]},"period":"","date":"9th–10th century","extendedStatuses":["accessioned"],"culture":"","medium":"Earthenware; painted in blue on opaque white (tin) glaze","dimensions":"Overall:
H. 2 7/16 in. (6.2 cm)
Diam. 8 7/16 in. (21.5 cm)
Base:
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