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Results for terms:Iranian Islamic painting styles after the Mongols

54 UMMA Objects (page 1/5)
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This Qajar dish features three separate compartments and highly decorated exterior panels. Each side of the dish is decorated with a pair of young female faces that alternate with abstract deep blue designs. The interor panels lack decoration aside from the bases of each compartment which contain blue painted floral sprays. The craftmanship of the dish finds roots in the Kashan tradition of the 12th and 13th centuries, making it a testament to the continuation of traditional techniques in the region by the 19th century. 
Iranian (Iranian)
Shallow open box with three compartments, adorned with women's faces
19th century
Museum Purchase
This star-shaped ceramic tile is decorated with floral patterns and shapes. This kind of tile seems to be very popular in the 15th and 16th centuries of the Iranian Islamic world. The relief decoration is moulded and unglazed while the ground is glazed in blues with black underglaze and covered with a clear overglaze. 
Iranian (Iranian)
Star-shaped tile with molded floral design
1400 – 1599
Transfer from the College of Architecture and Design
This Persian manuscript leaf is attributed to the 17th century Safavid period. Its format consists of two sections of calligraphy and a miniature (painted scene) in the middle. The painted scene features a grassy landscape with a mounted soldier and two standing figures. 
Iranian (Iranian)
Faramurz taken Prisoner, Shah-nameh of Ferdowski
17th century
Gift of Dr. Richard Ettinghausen presented in honor of Professor Oleg Grabar
This deep footed bowl comes from the 17th century Safavid period in Iran. The bowl features an ivory ground with a glossy glaze and blue and black underglaze painting. Cobalt blue floral rug designs cover the exterior of the bowl and  a cobalt blue medallion is found on the interior base.
Iranian (Iranian)
Deep bowl with medallion design
17th century
Museum purchase
This Persian miniature is attributed to the Shiraz and Timurid schools, ca. 1460. The painting is done in ink, opaque watercolor and gold leaf on paper. The scene, <em>Sikandar Builds a Barrier Against Yajuj and Majuj</em>, is part of the Shahnama of Firdausi, the Persian book of kings. 
Iranian (Iranian)
Sikandar Builds a Barrier Against Yajuj and Majuj, from the Shahnama of Firdausi
1455 – 1465
Museum Purchase
Baked clay plate with vegetal motif. Paste is a gray-white porcelain, glaze is glossy with a few cracks. The plate was fired upright and contains cobalt on light gray-white colors. The plate is attributed to Kerman of the Safavid period. The swirling treatment of the vegetal forms reflect the Persian adaptation of Chinese wares that occured in this area. Also attributed to Kerman is the dark blue color used to define the painted areas without the hardegded precision of other production centers.
Iranian (Iranian)
Plate with vegetal design
1600 – 1799
Museum Purchase
The unglazed ewer consists of two parts: a bulbous body with narrow, well-defined foot ring and short columnar neck; and a spout joined in the form of an anmial's head. A handle extends from the base of the head to the shoulder of the body. Around the upper part of the body runs an Arabic verse in Naskhi script. The moulded relief inscription is set against a background of floral scrolls. The meter is Tawil: (translated) Behold, poverty hopes for wealth, while wealth fears poverty." The verse appears in the 'Iqd al-Farid, compiled by Ibn 'Abd Rabbihi, who attributes it to 'Ali. The column above the body narrows to form a shoulder, on which the head has been set. The head is a cone, the narrow end of which serves as the animal's nose and has a small hole for pouring out the contents of the ewer. Over the base of the cone jut two pointed ears. Two loops are fastened below them to the shoulder of the neck. Small discs, serving as eyes, have been applied in the front of the ears. The hole for insertion of the liq
Iranian (Iranian)
Squat bottle with everted rim
17th century
Museum Purchase
This Persian miniature is attributed to the Shiraz and Timurid schools, ca. 1460. The painting is done in ink, opaque watercolor and gold leaf on paper. The scene, <em>Rustam Takes Bijan out of the Pit</em>, is part of the Shahnama of Firdausi, the Persian book of kings. 
Iranian (Iranian)
Rustam Takes Bijan out of the Pit, from the Shahnama of Firdausi
1455 – 1465
Museum Purchase
"Object EFS-105 is a 14th century Mongolian-influenced Sultanabad work. The body of the object is a pinkish-tan while the outside is covered with painted blue tinge. The central motif is a spotted lion [leopard]. Stylized birds circle the inside of the object against a naturalistically conceived floral area. The object has been re-pieced extensively. <br /><br />
This object bears the characteristic hemispherical shape of Sultanabad work, and its rendering of the birds and floral motif indicate the Chinese influence of the 14th century. The animal and birds are outlined in black. It follows the general color scheme and motifs of the Sultanabad wares of the 14th century. <br /><br />
The object is 4 inches high and has a diameter of 8 inches. The lion [leopard] is rendered with the Iranian sensitivity and perceptiveness. This object was probably highlighted with white slip."
Iranian (Iranian)
Bowl with Bird and Flower Designs
14th century
Museum Purchase
"Produced in the Wan Li era (1573-1619), the Chinese prototypes are more tightly controlled and more elaborate that the museum's Persian version. In place of nine rim panels in the Far Eastern piece our bowl has four, more widely dispersed over the rim area and enclosing loosely executed foliate forms. The elaborate scene usually appearing in the center of such bowls here is reduced to a simple bouqet, now in part reconstruction." 
Iranian (Iranian)
Plate with radial design
Museum Purchase
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