A mihrab is a niche in a mosque or other Muslim religious building that indicates the direction for prayer toward Mecca, recalling the place where the Prophet Muhammad stood to lead the early Muslim community in prayer. Ceramic plaques in the shape of mihrabs are often found in shrines and mausoleums and on tombstones and cenotaphs (funerary monuments), where they may have had a commemorative or memorial function.
With its combination of molded and painted decoration, this blue and brown lusterware work is typical of ceramic "mihrab" plaques made in medieval Iran. The large inscription in the outer frame begins with the "bismallah" ("In the name of God, the Merciful, the Compassionate") and continues with a Qur'anic verse that refers directly to the recitation and prayer that Muslims perform in front of a "mihrab": "Establish regular prayers at the sun's decline till the darkness of the night, and the morning prayer and reading: for the prayer and reading in the morning carry their testimony" (Sura al-Bani Isra'il: chapter 17, verse 78). One of the final, and shortest, chapters of the Qur'an (Sura al-Ikhlas: chapter 112) is inscribed on the white band around the central arch.
For the latest information about this object, tiles; plaques, visit art.thewalters.org.Dynasty: Inscriptions: [Translation] "bismallah": In the name of God, the Merciful, the Compassionate; [Translation] From Sura al-Bani Isra'il: chapter 17, verse 78: Establish regular prayers at the sun's decline till the darkness of the night, and the morning prayer and reading: for the prayer and reading in the morning carry their testimony; [Inscription] From Sura al-Ikhlas: chapter 112 on white band around central archReign: Style:
This form of pen box, with a drawer-like compartment that slides out to reveal its contents, was invented around the middle of the 17th century. Its ingenuity lies in the fact that it can be held closed without chains or a lock. The mouth of the sliding compartment was often elaborately carved to fit exactly into the body of the case, so that in Persian it is referred to as the qufl, or lock. The medium of this form was commonly papier-mâché (pasteboard) on wooden or iron molds, although sometimes pen boxes were also produced in ivory.For the latest information about this object, pen boxes, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
In Arab countries and Muslim realms in the Mediterranean region, artistic innovation flourished in the 9th-14th centuries. Metalworkers cast and hammered basins, vases, and incense burners from brass, engraved the surface with intricate designs, and then inlaid the decorations with gold and silver. This basin demonstrates this metalworking and silver inlay technique.For the latest information about this object, basins (vessels), visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
This is a composite object, consisting of a shaft, bejeweled with semiprecious stones, including turquoise, and a Mughal Indian jade finial. The finial was attached at some point in the object’s history, either while the object was in the Ottoman treasury or later, when it came into the hands of Robert S. Pardo, who sold the piece to Henry Walters (1848–1931). Pardo describes this unusual object as a scepter; however, it is unclear what the object was intended for, although it seems similar in purpose to maces, swords, and daggers, which were held or worn to indicate the wealth and authority of their owners.For the latest information about this object, batons (symbols or weapons), visit art.thewalters.org.Dynasty: Mughal DynastyInscriptions: 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.”
The three rectangular faces of this bead each have a different hybrid animals across its surfaces, and the two triangular sides each have a stylized vine vignette on a blue background.
For the latest information about this object, beads (pierced objects), 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. These colorful compositions created complex narrative scenes which paralleled manuscript painting. This footed beaker’s exterior features a pattern of nine seated figures, a few of which are playing instruments for a seated audience. A band of geometric leave shapes marks the lower register, and a pseudo kufic inscription encircles both the interior and exterior rims of the beaker.For the latest information about this object, goblets; beakers (vessels), visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
Composed of thirty-four gilt metal links enamelled in colors and set with jewels. Gilt metal hook at one end.For the latest information about this object, belts (costume accessories), visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
