Although their blades were often of inferior quality, Yemeni daggers had beautifully ornamented sheaths with elaborate silverwork, as seen here. These daggers, which symbolically highlighted male courage and strength, played an important role in certain dances by men. Daggers were positioned in belts made of colorful fabric. In addition to being silversmiths, Yemeni Jews excelled as producers of textiles and were known to weave the belts that held the daggers.
The dagger is inscribed in Arabic nusfi 1267, meaning "half" and 1267 (the date); it is inscribed in Hebrew mahasit (half). The date may be associated with the reign of al Mutawakkil "Ali (AH 1267) or that of al-Mansur Ahmad (AH 1266–67).For the latest information about this object, daggers; sheaths (cases), visit art.thewalters.org.Dynasty: Inscriptions: [Stamp] In Arabic: nusfi 1267; [Engraved] In Hebrew: Sulayman Salih, mahasitReign: Al-Mutawakkil ‘Ali (?); Al-Mansur Ahmad (?)Style:
Mina’i is a modern collectors’ term for ceramics made in Iran during the late 12th to early 13th centuries. The term mina’i, translates as “enamelled” in Persian, designating the colored glass pigments used to paint detailed figural decoration on vessels or tiles, which were then fixed on the ceramic base by multiple firings. The use of a wide range of colors, including turquoise, red, green, purple, and black, also led these types of ceramics to be called by the Persian term “haft rang,” or “seven colors.”
This star-shaped tile depicts two seated figures against a stylized floral and vine background. When the supply of these wares was exceeded by the demand of 19th- and early 20th-century collectors, forgeries, like this one, were produced. Forgeries can be made of entirely new materials or can be created out of fragments from multiple authentic but broken objects. This tile is a pastiche of historic fragments, modern ceramic restorations, and plaster fills.
For the latest information about this object, tiles, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
Turbans, the traditional headgear of Muslims in the Ottoman Empire, were removed like hats without being unbound. One would then place them on a shelf and cover them with embroidered cloths as protection from dust and disrespectful treatment. The wearing of turbans was abolished just a few decades after this cover was made: in 1827, Sultan Mahmud II (r. 1808-1839) ordered all male Ottoman subjects, both Christian and Muslim (with the exception of the clergy), to wear red woolen fezzes. Soon thereafter, in 1830, Algeria, previously a semi-autonomous Ottoman province, was invaded by the French.For the latest information about this object, turbans, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
This helmet bears the distinctive mark of the royal arsenal in Istanbul, capital of the Ottoman Dynasty of Turkey (1453-1922). Composed of a circle enclosing a loop over three vertical lines, the stamp is clearly visible to the right of the nose guard on this helmet. In 1839, the Ottoman repository discarded some of its holdings and sold them on the open market. The famous French artist Jean-Léon Gérôme was among the European collectors who acquired these Islamic arms and armor including this very helmet.For the latest information about this object, helmets, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
Mina’i is a modern collectors’ term for ceramics made in Iran during the late 12th to early 13th centuries. The term mina’i, translates as “enamelled” in Persian, designating the colored glass pigments used to paint detailed figural decoration on vessels or tiles, which were then fixed on the ceramic base by multiple firings. The use of a wide range of colors, including turquoise, red, green, purple, and black, also led these types of ceramics to be called by the Persian term “haft rang,” or “seven colors.”
Mina’i ware scenes often depict courtly pursuits, such as feasting, fighting, or poetry and music performances. These colorful compositions created complex narrative scenes which paralleled manuscript painting. Two horsemen face each other across the center of this footed bowl, charging towards the tree that rises to mark the central line of the bowl. Birds and abstract floral motifs surround the two central figures and emphasize the hunting activity. A kufic pseudo-inscription encircles the rim on a deep blue band, and a naskhi inscription marks the exterior rim.For the latest information about this object, bowls (vessels), visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
Mina’i is a modern collectors’ term for ceramics made in Iran during the late 12th to early 13th centuries. The term mina’i, translates as “enamelled” in Persian, designating the colored glass pigments used to paint detailed figural decoration on vessels or tiles, which were then fixed on the ceramic base by multiple firings. The use of a wide range of colors, including turquoise, red, green, purple, and black, also led these types of ceramics to be called by the Persian term “haft rang,” or “seven colors.”
Mina’i ware scenes often depict courtly pursuits, such as feasting, fighting, or poetry and music performances. These colorful compositions created complex narrative scenes which paralleled manuscript painting. This turquoise vase may depict a scene of courtly enjoyment, as seated figures, some of whom are holding beakers, listen to a musician playing a string instrument.
For the latest information about this object, vases, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style: