CHOOSE A GALLERY
JOIN THE CONVERSATION
MIGRATIONS
introduction
TRADE
INFLUENCES
THANKS
COMMUNITY
introduction
CULTURES IN CONVERSATION
Immerse yourself in a selection of some of the world’s finest pieces of Islamic metalwork ranging from Iran to Egypt. People, objects, and ideas all move for many reasons —through trade, conflict, or the human desire to explore. These objects combine forms and decorations from very different places, including Europe and China. Each one tells us a story which always starts and ends in a different place.
migrations
objects, patterns, and people
From around 1000 to around 1500 CE, several tribal groups moved across Asia from the borders with China to the edge of Europe. These movements displaced not only people but also objects, forms, decorative motifs, and techniques. In this period, you could find almost identical tiles on a building in Samarkand (in present-day Uzbekistan) and in Edirne (in present-day Turkey).
> COURT FASHION
> TRANSFER OF OBJECTS
> TRANSFER OF PATTERNS
court fashion
migrations: objects, patterns, and people
During such invasions, decorative motifs, objects, and people — with their fashion and costumes — all moved across Central Asia. This metal handbag is unique — no other like it has survived to the present day. It was made in Mosul, a chief Islamic metalwork centre, for a wealthy Mongol lady living in Iran.
MORE TO EXPLORE
Dr Safa Lutfi, Professor of Aesthetics of Design in Arab and Islamic Art and Architecture at the University of Babylon, shares her interpretation of the Courtauld Handbag.
Metal Handbag. Mosul, Northern Iraq, 1300-30 CE
court fashion
migrations: objects, patterns, and people
On its lid, the bag shows a banquet scene which is set in an Iranian style court – but it features people dressed in Mongol hats. The lady and her husband are sitting on a throne with a male attendant wearing a similar handbag hanging from his shoulder.
Court scene on the bag’s lid with highlighted details of the Mongol hats and attendant wearing similar bag.
The Courtauld Gallery, London.
Detail of Persian manuscript showing two attendants carrying a mirror and a handbag similar to the one in this exhibition, as seen in the metal handbag’s lid. Khwaju of Karman, 1396 CE.
© British Library Board: Add MS 18113, fol. 40v.
transfer of objects
migrations: objects, patterns, and people
In the 1000s CE, a group of
Turkish tribes from the Aral Sea
regions moved into mainland
Persia and conquered land all
the way to Anatolia (modern-day
Turkey) founding the so-called
Seljuk Empire. Artefacts moved
freely through this vast empire
which stretched all the way across
Central Asia and the Eastern
coast of the Mediterranean.
Seljuk Empire in 1071
transfer of objects
migrations: objects, patterns, and people
Candlesticks like this one were
extremely common and were always the same size and weight. In fact they were so uniform that
the Persian polymath Qazwīnī
(1203–83 CE) declared that the
inhabitants of Tabriz: “also use
objects such as candlesticks as currency".
Candlestick of cast bronze engraved
and inlaid with silver. Eastern Anatotolian
(Konya?), Turkey, late 1200s CE
transfer of patterns
migrations: objects, patterns, and people
At the beginning of the 1200s
CE, nomadic tribes from a
region bordering Russia and
China — led by Genghis
Khan (1116–1227 CE) —
swept through Central Asia
and reached the eastern
Mediterranean. This invasion
led to a movement of people
who transported decorative
motifs from China all the way to Egypt and beyond.
transfer of patterns
migrations: objects, patterns, and people
This bowl was made in Egypt after the Mongol invasion. It features
a lotus flower, a plant found in East and South East
Asia and widely used in Indian and Chinese Art.
Bowl of brass, originally inlaid with
silver. Egypt, 1375–1425 CE.
Trade
exchanges of ideas
Islamic metalwork was most sought-after in Europe between the 1300s and 1500s CE. Europeans first came across it during pilgrimages to the Holy Land. They started to commission and import it both for uses in churches and at home. Craftsmen responded to Europeans’ tastes and needs by adding European coats of arms to their objects and adapting them to different European uses.
> ADAPTATION TO EUROPEAN USES
> EUROPEAN COMMISSIONS
> USES IN THE ISLAMIC WORLD
> COATS OF ARMS
adaptation to european uses
trade: exchanges of ideas
Metal bowls in the Islamic world generally have a rounded base.
This is because they were mostly used on textiles such as carpets while dining on the floor. But the rounded bases were not suitable for European wooden tables where they would easily have overturned. So Middle Eastern craftsmen started to adapt their shapes, creating flat-bottomed vessels uniquely for the European market.
Detail of a Persian manuscript depicting people eating out of vessels on a floor textile.
Shāhnāmah, 1589–90 CE. © Courtesy of Princeton University Library: Islamic MSS 310, Third Series, no. 310 Peck fol. 368b.
adaptation to european uses
trade: exchanges of ideas
Bowl-shaped box with cover, brass inlaid with silver. Mahmud al-Kurdi, north-west Iran or Turkey, c. 1500 CE.
The double inscription in Arabic and Latin script on its rim and its flat base both show that this bowl was made for export to Europe. This object is unique — it is the only one of its kind to survive today.
european commissions
trade: exchanges of ideas
The inlaid technique lent itself to commissions from the Italian market. Middle Eastern craftsmen often added a blank shield to the vessel ready to accommodate the coat of arms of a future European buyer. Once exported to Europe, a thin sheet of precious metal with the arms of the European family was all that was needed to fill the empty space.
Detail from bowl-shaped box with cover, brass with silver inlay. Syria (Damascus?), c. 1500 CE.
european commissions
trade: exchanges of ideas
This bowl was probably made in Syria in about 1500 CE. A typically European jousting shield, with an indentation to accommodate a lance, made it ready for a European customer.
Detail of an English manuscript showing the distinctive shape of the jousting shield. Sir Thomas Holme’s Book of Arms, c. 1445–1524 CE.
Bowl-shaped box with cover, brass with silver inlay. Syria (Damascus?), c. 1500 CE.
uses in the islamic world
trade: exchanges of ideas
The shapes and decorations of objects adapt to their use in a particular culture. Made around 1500 CE in Anatolia (modern-day Turkey), this bucket was probably used for drinking. The silver inlay shows it was owned by a wealthy household.
Bucket of engraved brass with silver inlay.
Zain al-Din, north-west Iran or Turkey, c. 1500 CE.
Detail of a Persian manuscript depicting people eating out of vessels on a floor textile. Shāhnāmah, 1589–90 CE. © Courtesy of Princeton University Library: Islamic MSS 310, Third Series, no. 310 Peck fol. 368b.
uses in the islamic world
trade: exchanges of ideas
The decoration covers the bucket's base in a splendidly intricate pattern.
People in the Middle East ate their meals sitting on the floor, so they would see the bottom of the vessel when a servant brought it in.
Detail of a Persian manuscript showing people eating out of vessels on a floor textile. Shāhnāmah, 1589–90 CE.© Courtesy of Princeton University Library: Islamic MSS 310, Third Series, no. 310 Peck fol. 368b.
Base. of bucket of engraved brass with silver inlay.
Zain al-Din, north-west Iran or Turkey, c. 1500 CE.
Coats of arms
trade: exchanges of ideas
In the 1200s CE — while European Crusaders were at war in the Holy Land — the Mamluks took over Egypt and the eastern coast of the Mediterranean. One of their chief decorative motifs is the medallion surrounded by an inscription or decoration. This medallion feature was already present in the Seljuk tradition when it was developed by the Mamluks.
Bowl inlaid with silver, c. 1300 CE.
© Museum für Islamische Kunst, Berlin: I. 3597
Coats of arms
trade: exchanges of ideas
The Mamluks started to insert a coat of arms in the medallion following the practice of the European crusaders stationed in the eastern Mediterranean.
Bowl inlaid with silver, c. 1300 CE.
© Museum für Islamische Kunst, Berlin: I. 3597
influences
cultures in conversation
> ISLAMIC INFLUENCES ON EUROPEAN OBJECTS
> EUROPEAN INFLUENCES ON ISLAMIC OBJECTS
islamic influences on european objects
cultures in conversation
Italian artisans started producing objects featuring Islamic decorative motifs in the 1500s. They became so popular that often the origin of their decorative elements was totally forgotten.
> USE OF METAL INLAY WITH ITALIAN DESIGN
> USE OF METAL INLAY WITH ISLAMIC DESIGN
> USE OF ISLAMIC DESIGN WITHOUT METAL INLAY
UsE OF METAL INLAY With ITALIAN DESIGN
INFLUENCES: cultures in conversation
Italian artists copied the metal inlay technique directly from the Islamic world. The famous Italian artist Benvenuto Cellini (1500–71 CE)
wrote in his memoirs: “there fell into my hands some little Turkish daggers ... They were engraved by means of iron implements with foliage in the most exquisite Turkish style, very neatly filled in with gold. The sight of them stirred in me a great desire to try my own skill in that branch, so different from the others which I practised; and finding that I succeeded to my satisfaction, I executed several pieces.”
Set of Drawing Instruments made in the Islamic-metalwork style.
Italy, early 1500s CE. HSM inv. 52444
UsE OF METAL INLAY WITH ISLAMIC DESIGN
INFLUENCES: cultures in conversation
In Italian there are two ways
of describing the metal inlay
technique. Both reveal its Islamic
origin:Damaschina or alla
damaschina, which means
“the Damascus way” Alla zimina or alla agemina or
ageminato which comes from
the Arabic word ‘ajam,
meaning “barbarian, non-Arabs,
or Persians”.
Dish of engraved high-tin bronze inlaid with
silver. Italy (Venice?), 1500s CE.
UsE OF METAL INLAY WITH ISLAMIC DESIGN
INFLUENCES: cultures in conversation
This Italian plate is technically very
similar to an Islamic one with typical
Islamic decorative motifs. But these
motifs are treated here in a much more
crowded and elaborate way compared
with the linear simplicity of the Islamic
prototype.
split palmette
Dish of engraved high-tin bronze inlaid with
silver. Italy (Venice?), 1500s CE.
palmette
loop palmette
UsE OF islamic design without METAL INLAY
INFLUENCES: cultures in conversation
These
candlesticks were made in Italy and
their shape is based on an Italian
model but they are decorated with
Islamic-style patterns.
On their
surface you can see so-called split
palmettes and knots
typical of Islamic decorations.
Italy (Venice) 1500s CE.
Pair of candlesticks of engraved brass,
with later reworking.
european influences on islamic objects
cultures in conversation
The close connections between the Islamic world and Europe meant this flow of ideas happened in both directions, and European features also appeared in Islamic iconography. You can see this particularly in the field of astronomy and astrology where the Islamic world continued the tradition of the ancient Greek world.
> THE ZODIAC SIGNS
> THE CONSTELLATIONS
> THE PLANETS
the zodiac signs
INFLUENCES: cultures in conversation
The signs of the zodiac in Islamic art are borrowed from Classical Antiquity and are easily recognisable on the outer rim of this astrolabe. Look out for Pisces (the fish) next to the alidade (pointer).
Astrolabe with Lunar Mansions. Abd al-Karim, Egypt or Syria, 1227–28 CE. HSM inv. 37148
the zodiac signs
INFLUENCES: cultures in conversation
On an inner circle you can also see images of so-called 'lunar mansions', or groups of stars through which the moon moves. These lunar mansions are a combination of Indian and Bedouin traditions.
Astrolabe with Lunar Mansions. Abd al-Karim, Egypt or Syria, 1227–28 CE. HSM inv. 37148
the constellations
INFLUENCES: cultures in conversation
The iconography of the constellations is also borrowed from Classical Antiquity. The engraved inscriptions on this globe state that the star positions were taken from the Book
of Constellations by Abu al-Husayn ‘Abd al-Rahman al-Sufi (903-986 CE). Al-Sufi himself says at the beginning of his book that he modelled his
star charts on those produced by
the Greek astronomer Ptolemy
(died c. 170 CE).
Celestial globe. Ja’far ibn ‘Umar ibn Dawlatshah al-Kirmani, Iran, 1362–63 CE.
HSM inv. 44790
the planets
INFLUENCES: cultures in conversation
This incense burner from Syria features the Sun at the centre of each hemisphere and: the Moon MercuryVenusMarsSaturn, and Jupiter in roundels repeated on each hemisphere.
Incense burner of pierced and engraved brass inlaid with silver.
Syria, late 1200s CE.
the planets
INFLUENCES: cultures in conversation
These images of the planets are taken from Classical Antiquity. Mars in the Classical tradition is sometimes represented as a man holding a sword and a severed head exactly as on this incense burner.
Personification of the planet Mars with severed head and sword in a Latin manuscript.
Liber astrologiae Georgii Zapari,
1300s CE.
© Bibliothèque nationale de France,
Paris: Lat. 7330, fol. 48r.
Detail from incense burner of pierced and engraved brass inlaid with silver.
Syria, late 1200s CE.
community conversations today
stories from multaka volunteers and museum friends
Symmetry & patterns
Eva's stories
What is Multaka-Oxford?
Marriam's story
Rana's stories
Rachida's story
What is multaka-oxford?
community conversations today
Multaka in Arabic translates into English as 'meeting point'. Funded by a range of donors, Multaka-Oxford uses museums and collections as a ‘meeting point’ to bring people together. The Multaka team of staff and volunteers work together to research, learn, and discover inter-cultural connections through objects in the History of Science and Pitt Rivers collections. And they share their wealth of knowledge and understanding with a wider community through multi-lingual events, tours, blogs, and displays.
> Meet the Multaka-Oxford team
> Discover our stories
MATHS, SYMMETRY, AND ISLAMIC PATTERNS
community conversations today
Jonathan Fruchter - Multaka volunteer and post-graduate maths student at the University of Oxford, was inspired by the beautiful design of the handbag:
"After seeing the objects, I couldn't NOT see the beautiful patterns and the rich symmetries."
Jonathan made a short, animated video explaining the different types of symmetries you see in Islamic metalwork.
MATHS, SYMMETRY, AND ISLAMIC PATTERNS
COMMUNITY CONVERSATIONS TODAY
"Maths can really be beautiful and fun."
"With just a few brushstrokes, you can create beautiful, Islamic-inspired wallpaper patterns"
Click on the image and use Jonathan's website to create your own Islamic-inspired pattern.
venice: a cultural meeting point
COMMUNITY CONVERSATIONS TODAY
Multaka volunteer Eva Haghighi found inspiration in the Courtauld candlesticks and the dish, both associated with Italy — and Venice in particular. "I thought it would be interesting to explore Venice and the city’s role in the context of trade between Europe and Asia, as the theme fits the broader Multaka theme of ‘meeting points of different cultures’. "One possible way to do so could be through quotes from Marco Polo or Marino Sanudo’s diaries as it pertains to gifts exchanged between diplomats.
'Food is an incredibly important aspect of social life ... 'Read more from Eva
Francesco Guardi, The Doge on the Bucintoro near the Riva di Sant'Elena (c. 1766–70)
venice: a cultural meeting point
COMMUNITY CONVERSATIONS TODAY
"The items that I believe could be especially interesting are those related to food, as for instance spices coming from Asia became an integral part of many European cuisines. "Food is an incredibly important aspect of social life both in Italian and Persian culture, and the same is true in my family, where my Italian mother and my Iranian father both cook and have taught me traditional recipes from their respective countries. "I think it could be interesting to link the historical and contemporary aspects of food as an element which can bring people and cultures together.".
Take a look at Eva's stories about Venice as a cultural meeting point
Folio from a Khavarannama (The Book of the East) of ibn Husam al-Dinca. 1476–86
venice: a cultural meeting point
COMMUNITY CONVERSATIONS TODAY
Read video as a pdf
Discover the work of Mahmud al-Kurdi
The influence of Arabic on Venetian language
Read video as a pdf
Quote from Simone Sigoli, Journey to Mount Sinai
Discover the work of Mahmud al-Kurdi (Folio from a Khavarannama (The Book of the East) of ibn Husam al-Dinca. 1476–86)The influence of Arabic on Venetian language (Francesco Guardi, The Doge on the Bucintoro near the Riva di Sant'Elena (c. 1766–70)) Quote from Simone Sigoli, Journey to Mount Sinai (Bucket of engraved brass with silver inlay. Zain al-Din, north-west Iran or Turkey, c. 1500 CE)
MEMORIES OF A LOVING FATHER
COMMUNITY CONVERSATIONS TODAY
Multaka volunteer Marriam Jawaad shares a gift from her father engraved with a verse from the Quran: "I would like to share with you my Healing Drinking Bowl. "The Arabic verse written inside the bowl is titled 'Ayat al-Kursi', also known as the 'Throne verse'. Ayat al-Kursi is regarded as one of the most powerful verses in the Quran (Al-Baqara 255). "As Muslims, we believe that a person can drink the water from this bowl and it will give them Shifa (recovery from illness) from Allah (God) and protection from the evil eye, Shaitan (Satan).
'It is a gift from my father ... it reminds me of him' Hear Marriam's memories of her father and hear the verse in Arabic
memories of a loving father
COMMUNITY CONVERSATIONS TODAY
"The healing bowl has been used in my country, Pakistan, for hundreds of years, and in many households throughout the world. It is a gift from my father who has passed away, and reminds me of him and what he would do to ensure our safety when we were unwell."
Read a translation of the text on the Healing Drinking Bowl
parting gift from a dear friend
community conversations today
Multaka volunteer Rachida shares the beautitful jewellery which was the last gift from a wonderful friend: "Seven years ago, I spent a wonderful evening with my friend Samira and Mrs Fadama, who showed us jewellery from Tzenit, a city in Morocco known as the Capital of Silver. This silver (Naqra) can be traditional or modern, heavy or light, simple or decorated. "My friend Samira saw this ring and bracelet and said with joy, 'They’re beautiful, I’ll buy them'. The saying is true that 'silent jewellery is more influential on women than the sweetest words'. I asked Mrs Fadama if she had any more, but she didn’t. Suddenly, Samira took hers off and said, 'Take them, my dear friend”'. "I didn't know it would be her last gift to me. "
'From the mines, through the embers and the moulds.'Discover Rachida's inspiring memories of her friend's parting gift
parting gift from a dear friend
community conversations today
'From the mines, through the embers and the moulds': objects as memories "The next morning, I received the news that Samira had died in a car accident. I felt great sadness, but that's when I looked at the bracelet and ring and told them: 'Yesterday you were on her hand and today you are on mine. 'Where will you be after my death and what stories will you continue to witness? 'Just as you have already witnessed your story: from the mines, through the embers and the moulds, to the objects and the special memories you now are.'”.
IRAQI WOMEN ART AND WAR
COMMUNITY CONVERSATIONS TODAY
Iraqi Women Art and War captures oral-history stories in an artistic way from women before, during, and after the war which started in 2003. The project supports women to integrate into British culture and society, building bridges within communities. Rana Ibrahim shared with us some of the videos she captured in Iraq focusing on Islamic Metalwork in the 21st century.
Find out more about IWAW
raising awareness of traditional skills
community conversations today
Rana shares her perfume bottle and memories of Iraq "This is a traditional Iraqi metal object from Souk Al-Saffafeer/ Saffarin (a metal market in Baghdad). "This market is considered one of the oldest markets in Baghdad and dates back to the era of the Abbasid Caliphate. "My object is a perfume bottle used for wedding celebrations to put rose water in. It is a copy of my family one which is made of silver; this one is made of copper. "I love it so much as it reminds me of the sound of the metalwork in this market.
Raising awareness of traditional skills
RAISING AWARENESS OF TRADITIONAL SKILLS
community conversations today
Raising awareness of rare Iraqi metalwork skills "I purchased it when I went back to Iraq in 2018, after not being able to visit for 18 years due to War. In my YouTube videos (IWAW), I talked to one of the last specialists in this artwork field. He told me how this rare craft is in danger after 2003 due to the lack of support from the new regime and no-one supporting the artists. "I also visited the only institute in Baghdad which teaches the new generation (age 13+) — who also felt neglected by the new government — these unique skills. From this platform, I urgently raised awareness of these rare Iraqi artwork skills which is fading due to the lack of support."
a new era of stories
community conversations today
Rana shares an engraved picture of a woman’s face on a circular metal canvas from her family home in Iraq "She wears traditional Egyptian jewellery, a transparent burqa (face covering) and make-up with kohl; this is a very well-known attire in the Egyptian countryside. "In Iraq we used to watch a lot of Egyptian drama/films which familiarised us with different Egyptian outfits and dialects in any part of Egypt. "It is a very special picture to me because it was hanging in my family house in Iraq until I emigrated in 2000 and I have always admired the beautiful artwork.
A new era of stories
a new era of stories
community conversations today
"However, this object is originally from Egypt; it was given by my uncle to my mother — as he lived in Egypt and his wife was Egyptian — when he visited us in the seventies. "I kept this picture because it reminds me of my childhood. "Now, this object is with me in the UK and started a new era of stories since I moved to the UK in 2003. "I will make sure this item will pass down to my daughters and they will pass it to their children as a sign of keeping our family heritage."
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Transcript
CHOOSE A GALLERY
JOIN THE CONVERSATION
MIGRATIONS
introduction
TRADE
INFLUENCES
THANKS
COMMUNITY
introduction
CULTURES IN CONVERSATION
Immerse yourself in a selection of some of the world’s finest pieces of Islamic metalwork ranging from Iran to Egypt. People, objects, and ideas all move for many reasons —through trade, conflict, or the human desire to explore. These objects combine forms and decorations from very different places, including Europe and China. Each one tells us a story which always starts and ends in a different place.
migrations
objects, patterns, and people
From around 1000 to around 1500 CE, several tribal groups moved across Asia from the borders with China to the edge of Europe. These movements displaced not only people but also objects, forms, decorative motifs, and techniques. In this period, you could find almost identical tiles on a building in Samarkand (in present-day Uzbekistan) and in Edirne (in present-day Turkey).
> COURT FASHION
> TRANSFER OF OBJECTS
> TRANSFER OF PATTERNS
court fashion
migrations: objects, patterns, and people
During such invasions, decorative motifs, objects, and people — with their fashion and costumes — all moved across Central Asia. This metal handbag is unique — no other like it has survived to the present day. It was made in Mosul, a chief Islamic metalwork centre, for a wealthy Mongol lady living in Iran.
MORE TO EXPLORE
Dr Safa Lutfi, Professor of Aesthetics of Design in Arab and Islamic Art and Architecture at the University of Babylon, shares her interpretation of the Courtauld Handbag.
Metal Handbag. Mosul, Northern Iraq, 1300-30 CE
court fashion
migrations: objects, patterns, and people
On its lid, the bag shows a banquet scene which is set in an Iranian style court – but it features people dressed in Mongol hats. The lady and her husband are sitting on a throne with a male attendant wearing a similar handbag hanging from his shoulder.
Court scene on the bag’s lid with highlighted details of the Mongol hats and attendant wearing similar bag. The Courtauld Gallery, London.
Detail of Persian manuscript showing two attendants carrying a mirror and a handbag similar to the one in this exhibition, as seen in the metal handbag’s lid. Khwaju of Karman, 1396 CE. © British Library Board: Add MS 18113, fol. 40v.
transfer of objects
migrations: objects, patterns, and people
In the 1000s CE, a group of Turkish tribes from the Aral Sea regions moved into mainland Persia and conquered land all the way to Anatolia (modern-day Turkey) founding the so-called Seljuk Empire. Artefacts moved freely through this vast empire which stretched all the way across Central Asia and the Eastern coast of the Mediterranean.
Seljuk Empire in 1071
transfer of objects
migrations: objects, patterns, and people
Candlesticks like this one were extremely common and were always the same size and weight. In fact they were so uniform that the Persian polymath Qazwīnī (1203–83 CE) declared that the inhabitants of Tabriz: “also use objects such as candlesticks as currency".
Candlestick of cast bronze engraved and inlaid with silver. Eastern Anatotolian (Konya?), Turkey, late 1200s CE
transfer of patterns
migrations: objects, patterns, and people
At the beginning of the 1200s CE, nomadic tribes from a region bordering Russia and China — led by Genghis Khan (1116–1227 CE) — swept through Central Asia and reached the eastern Mediterranean. This invasion led to a movement of people who transported decorative motifs from China all the way to Egypt and beyond.
transfer of patterns
migrations: objects, patterns, and people
This bowl was made in Egypt after the Mongol invasion. It features a lotus flower, a plant found in East and South East Asia and widely used in Indian and Chinese Art.
Bowl of brass, originally inlaid with silver. Egypt, 1375–1425 CE.
Trade
exchanges of ideas
Islamic metalwork was most sought-after in Europe between the 1300s and 1500s CE. Europeans first came across it during pilgrimages to the Holy Land. They started to commission and import it both for uses in churches and at home. Craftsmen responded to Europeans’ tastes and needs by adding European coats of arms to their objects and adapting them to different European uses.
> ADAPTATION TO EUROPEAN USES
> EUROPEAN COMMISSIONS
> USES IN THE ISLAMIC WORLD
> COATS OF ARMS
adaptation to european uses
trade: exchanges of ideas
Metal bowls in the Islamic world generally have a rounded base. This is because they were mostly used on textiles such as carpets while dining on the floor. But the rounded bases were not suitable for European wooden tables where they would easily have overturned. So Middle Eastern craftsmen started to adapt their shapes, creating flat-bottomed vessels uniquely for the European market.
Detail of a Persian manuscript depicting people eating out of vessels on a floor textile. Shāhnāmah, 1589–90 CE. © Courtesy of Princeton University Library: Islamic MSS 310, Third Series, no. 310 Peck fol. 368b.
adaptation to european uses
trade: exchanges of ideas
Bowl-shaped box with cover, brass inlaid with silver. Mahmud al-Kurdi, north-west Iran or Turkey, c. 1500 CE.
The double inscription in Arabic and Latin script on its rim and its flat base both show that this bowl was made for export to Europe. This object is unique — it is the only one of its kind to survive today.
european commissions
trade: exchanges of ideas
The inlaid technique lent itself to commissions from the Italian market. Middle Eastern craftsmen often added a blank shield to the vessel ready to accommodate the coat of arms of a future European buyer. Once exported to Europe, a thin sheet of precious metal with the arms of the European family was all that was needed to fill the empty space.
Detail from bowl-shaped box with cover, brass with silver inlay. Syria (Damascus?), c. 1500 CE.
european commissions
trade: exchanges of ideas
This bowl was probably made in Syria in about 1500 CE. A typically European jousting shield, with an indentation to accommodate a lance, made it ready for a European customer.
Detail of an English manuscript showing the distinctive shape of the jousting shield. Sir Thomas Holme’s Book of Arms, c. 1445–1524 CE.
Bowl-shaped box with cover, brass with silver inlay. Syria (Damascus?), c. 1500 CE.
uses in the islamic world
trade: exchanges of ideas
The shapes and decorations of objects adapt to their use in a particular culture. Made around 1500 CE in Anatolia (modern-day Turkey), this bucket was probably used for drinking. The silver inlay shows it was owned by a wealthy household.
Bucket of engraved brass with silver inlay. Zain al-Din, north-west Iran or Turkey, c. 1500 CE.
Detail of a Persian manuscript depicting people eating out of vessels on a floor textile. Shāhnāmah, 1589–90 CE. © Courtesy of Princeton University Library: Islamic MSS 310, Third Series, no. 310 Peck fol. 368b.
uses in the islamic world
trade: exchanges of ideas
The decoration covers the bucket's base in a splendidly intricate pattern.
People in the Middle East ate their meals sitting on the floor, so they would see the bottom of the vessel when a servant brought it in.
Detail of a Persian manuscript showing people eating out of vessels on a floor textile. Shāhnāmah, 1589–90 CE.© Courtesy of Princeton University Library: Islamic MSS 310, Third Series, no. 310 Peck fol. 368b.
Base. of bucket of engraved brass with silver inlay. Zain al-Din, north-west Iran or Turkey, c. 1500 CE.
Coats of arms
trade: exchanges of ideas
In the 1200s CE — while European Crusaders were at war in the Holy Land — the Mamluks took over Egypt and the eastern coast of the Mediterranean. One of their chief decorative motifs is the medallion surrounded by an inscription or decoration. This medallion feature was already present in the Seljuk tradition when it was developed by the Mamluks.
Bowl inlaid with silver, c. 1300 CE. © Museum für Islamische Kunst, Berlin: I. 3597
Coats of arms
trade: exchanges of ideas
The Mamluks started to insert a coat of arms in the medallion following the practice of the European crusaders stationed in the eastern Mediterranean.
Bowl inlaid with silver, c. 1300 CE. © Museum für Islamische Kunst, Berlin: I. 3597
influences
cultures in conversation
> ISLAMIC INFLUENCES ON EUROPEAN OBJECTS
> EUROPEAN INFLUENCES ON ISLAMIC OBJECTS
islamic influences on european objects
cultures in conversation
Italian artisans started producing objects featuring Islamic decorative motifs in the 1500s. They became so popular that often the origin of their decorative elements was totally forgotten.
> USE OF METAL INLAY WITH ITALIAN DESIGN
> USE OF METAL INLAY WITH ISLAMIC DESIGN
> USE OF ISLAMIC DESIGN WITHOUT METAL INLAY
UsE OF METAL INLAY With ITALIAN DESIGN
INFLUENCES: cultures in conversation
Italian artists copied the metal inlay technique directly from the Islamic world. The famous Italian artist Benvenuto Cellini (1500–71 CE) wrote in his memoirs: “there fell into my hands some little Turkish daggers ... They were engraved by means of iron implements with foliage in the most exquisite Turkish style, very neatly filled in with gold. The sight of them stirred in me a great desire to try my own skill in that branch, so different from the others which I practised; and finding that I succeeded to my satisfaction, I executed several pieces.”
Set of Drawing Instruments made in the Islamic-metalwork style. Italy, early 1500s CE. HSM inv. 52444
UsE OF METAL INLAY WITH ISLAMIC DESIGN
INFLUENCES: cultures in conversation
In Italian there are two ways of describing the metal inlay technique. Both reveal its Islamic origin:Damaschina or alla damaschina, which means “the Damascus way” Alla zimina or alla agemina or ageminato which comes from the Arabic word ‘ajam, meaning “barbarian, non-Arabs, or Persians”.
Dish of engraved high-tin bronze inlaid with silver. Italy (Venice?), 1500s CE.
UsE OF METAL INLAY WITH ISLAMIC DESIGN
INFLUENCES: cultures in conversation
This Italian plate is technically very similar to an Islamic one with typical Islamic decorative motifs. But these motifs are treated here in a much more crowded and elaborate way compared with the linear simplicity of the Islamic prototype.
split palmette
Dish of engraved high-tin bronze inlaid with silver. Italy (Venice?), 1500s CE.
palmette
loop palmette
UsE OF islamic design without METAL INLAY
INFLUENCES: cultures in conversation
These candlesticks were made in Italy and their shape is based on an Italian model but they are decorated with Islamic-style patterns.
On their surface you can see so-called split palmettes and knots typical of Islamic decorations.
Italy (Venice) 1500s CE. Pair of candlesticks of engraved brass, with later reworking.
european influences on islamic objects
cultures in conversation
The close connections between the Islamic world and Europe meant this flow of ideas happened in both directions, and European features also appeared in Islamic iconography. You can see this particularly in the field of astronomy and astrology where the Islamic world continued the tradition of the ancient Greek world.
> THE ZODIAC SIGNS
> THE CONSTELLATIONS
> THE PLANETS
the zodiac signs
INFLUENCES: cultures in conversation
The signs of the zodiac in Islamic art are borrowed from Classical Antiquity and are easily recognisable on the outer rim of this astrolabe. Look out for Pisces (the fish) next to the alidade (pointer).
Astrolabe with Lunar Mansions. Abd al-Karim, Egypt or Syria, 1227–28 CE. HSM inv. 37148
the zodiac signs
INFLUENCES: cultures in conversation
On an inner circle you can also see images of so-called 'lunar mansions', or groups of stars through which the moon moves. These lunar mansions are a combination of Indian and Bedouin traditions.
Astrolabe with Lunar Mansions. Abd al-Karim, Egypt or Syria, 1227–28 CE. HSM inv. 37148
the constellations
INFLUENCES: cultures in conversation
The iconography of the constellations is also borrowed from Classical Antiquity. The engraved inscriptions on this globe state that the star positions were taken from the Book of Constellations by Abu al-Husayn ‘Abd al-Rahman al-Sufi (903-986 CE). Al-Sufi himself says at the beginning of his book that he modelled his star charts on those produced by the Greek astronomer Ptolemy (died c. 170 CE).
Celestial globe. Ja’far ibn ‘Umar ibn Dawlatshah al-Kirmani, Iran, 1362–63 CE. HSM inv. 44790
the planets
INFLUENCES: cultures in conversation
This incense burner from Syria features the Sun at the centre of each hemisphere and: the Moon MercuryVenusMarsSaturn, and Jupiter in roundels repeated on each hemisphere.
Incense burner of pierced and engraved brass inlaid with silver. Syria, late 1200s CE.
the planets
INFLUENCES: cultures in conversation
These images of the planets are taken from Classical Antiquity. Mars in the Classical tradition is sometimes represented as a man holding a sword and a severed head exactly as on this incense burner.
Personification of the planet Mars with severed head and sword in a Latin manuscript. Liber astrologiae Georgii Zapari, 1300s CE. © Bibliothèque nationale de France, Paris: Lat. 7330, fol. 48r.
Detail from incense burner of pierced and engraved brass inlaid with silver. Syria, late 1200s CE.
community conversations today
stories from multaka volunteers and museum friends
Symmetry & patterns
Eva's stories
What is Multaka-Oxford?
Marriam's story
Rana's stories
Rachida's story
What is multaka-oxford?
community conversations today
Multaka in Arabic translates into English as 'meeting point'. Funded by a range of donors, Multaka-Oxford uses museums and collections as a ‘meeting point’ to bring people together. The Multaka team of staff and volunteers work together to research, learn, and discover inter-cultural connections through objects in the History of Science and Pitt Rivers collections. And they share their wealth of knowledge and understanding with a wider community through multi-lingual events, tours, blogs, and displays.
> Meet the Multaka-Oxford team
> Discover our stories
MATHS, SYMMETRY, AND ISLAMIC PATTERNS
community conversations today
Jonathan Fruchter - Multaka volunteer and post-graduate maths student at the University of Oxford, was inspired by the beautiful design of the handbag:
"After seeing the objects, I couldn't NOT see the beautiful patterns and the rich symmetries."
Jonathan made a short, animated video explaining the different types of symmetries you see in Islamic metalwork.
MATHS, SYMMETRY, AND ISLAMIC PATTERNS
COMMUNITY CONVERSATIONS TODAY
"Maths can really be beautiful and fun."
"With just a few brushstrokes, you can create beautiful, Islamic-inspired wallpaper patterns"
Click on the image and use Jonathan's website to create your own Islamic-inspired pattern.
venice: a cultural meeting point
COMMUNITY CONVERSATIONS TODAY
Multaka volunteer Eva Haghighi found inspiration in the Courtauld candlesticks and the dish, both associated with Italy — and Venice in particular. "I thought it would be interesting to explore Venice and the city’s role in the context of trade between Europe and Asia, as the theme fits the broader Multaka theme of ‘meeting points of different cultures’. "One possible way to do so could be through quotes from Marco Polo or Marino Sanudo’s diaries as it pertains to gifts exchanged between diplomats.
'Food is an incredibly important aspect of social life ... 'Read more from Eva
Francesco Guardi, The Doge on the Bucintoro near the Riva di Sant'Elena (c. 1766–70)
venice: a cultural meeting point
COMMUNITY CONVERSATIONS TODAY
"The items that I believe could be especially interesting are those related to food, as for instance spices coming from Asia became an integral part of many European cuisines. "Food is an incredibly important aspect of social life both in Italian and Persian culture, and the same is true in my family, where my Italian mother and my Iranian father both cook and have taught me traditional recipes from their respective countries. "I think it could be interesting to link the historical and contemporary aspects of food as an element which can bring people and cultures together.".
Take a look at Eva's stories about Venice as a cultural meeting point
Folio from a Khavarannama (The Book of the East) of ibn Husam al-Dinca. 1476–86
venice: a cultural meeting point
COMMUNITY CONVERSATIONS TODAY
Read video as a pdf
Discover the work of Mahmud al-Kurdi
The influence of Arabic on Venetian language
Read video as a pdf
Quote from Simone Sigoli, Journey to Mount Sinai
Discover the work of Mahmud al-Kurdi (Folio from a Khavarannama (The Book of the East) of ibn Husam al-Dinca. 1476–86)The influence of Arabic on Venetian language (Francesco Guardi, The Doge on the Bucintoro near the Riva di Sant'Elena (c. 1766–70)) Quote from Simone Sigoli, Journey to Mount Sinai (Bucket of engraved brass with silver inlay. Zain al-Din, north-west Iran or Turkey, c. 1500 CE)
MEMORIES OF A LOVING FATHER
COMMUNITY CONVERSATIONS TODAY
Multaka volunteer Marriam Jawaad shares a gift from her father engraved with a verse from the Quran: "I would like to share with you my Healing Drinking Bowl. "The Arabic verse written inside the bowl is titled 'Ayat al-Kursi', also known as the 'Throne verse'. Ayat al-Kursi is regarded as one of the most powerful verses in the Quran (Al-Baqara 255). "As Muslims, we believe that a person can drink the water from this bowl and it will give them Shifa (recovery from illness) from Allah (God) and protection from the evil eye, Shaitan (Satan).
'It is a gift from my father ... it reminds me of him' Hear Marriam's memories of her father and hear the verse in Arabic
memories of a loving father
COMMUNITY CONVERSATIONS TODAY
"The healing bowl has been used in my country, Pakistan, for hundreds of years, and in many households throughout the world. It is a gift from my father who has passed away, and reminds me of him and what he would do to ensure our safety when we were unwell."
Read a translation of the text on the Healing Drinking Bowl
parting gift from a dear friend
community conversations today
Multaka volunteer Rachida shares the beautitful jewellery which was the last gift from a wonderful friend: "Seven years ago, I spent a wonderful evening with my friend Samira and Mrs Fadama, who showed us jewellery from Tzenit, a city in Morocco known as the Capital of Silver. This silver (Naqra) can be traditional or modern, heavy or light, simple or decorated. "My friend Samira saw this ring and bracelet and said with joy, 'They’re beautiful, I’ll buy them'. The saying is true that 'silent jewellery is more influential on women than the sweetest words'. I asked Mrs Fadama if she had any more, but she didn’t. Suddenly, Samira took hers off and said, 'Take them, my dear friend”'. "I didn't know it would be her last gift to me. "
'From the mines, through the embers and the moulds.'Discover Rachida's inspiring memories of her friend's parting gift
parting gift from a dear friend
community conversations today
'From the mines, through the embers and the moulds': objects as memories "The next morning, I received the news that Samira had died in a car accident. I felt great sadness, but that's when I looked at the bracelet and ring and told them: 'Yesterday you were on her hand and today you are on mine. 'Where will you be after my death and what stories will you continue to witness? 'Just as you have already witnessed your story: from the mines, through the embers and the moulds, to the objects and the special memories you now are.'”.
IRAQI WOMEN ART AND WAR
COMMUNITY CONVERSATIONS TODAY
Iraqi Women Art and War captures oral-history stories in an artistic way from women before, during, and after the war which started in 2003. The project supports women to integrate into British culture and society, building bridges within communities. Rana Ibrahim shared with us some of the videos she captured in Iraq focusing on Islamic Metalwork in the 21st century.
Find out more about IWAW
raising awareness of traditional skills
community conversations today
Rana shares her perfume bottle and memories of Iraq "This is a traditional Iraqi metal object from Souk Al-Saffafeer/ Saffarin (a metal market in Baghdad). "This market is considered one of the oldest markets in Baghdad and dates back to the era of the Abbasid Caliphate. "My object is a perfume bottle used for wedding celebrations to put rose water in. It is a copy of my family one which is made of silver; this one is made of copper. "I love it so much as it reminds me of the sound of the metalwork in this market.
Raising awareness of traditional skills
RAISING AWARENESS OF TRADITIONAL SKILLS
community conversations today
Raising awareness of rare Iraqi metalwork skills "I purchased it when I went back to Iraq in 2018, after not being able to visit for 18 years due to War. In my YouTube videos (IWAW), I talked to one of the last specialists in this artwork field. He told me how this rare craft is in danger after 2003 due to the lack of support from the new regime and no-one supporting the artists. "I also visited the only institute in Baghdad which teaches the new generation (age 13+) — who also felt neglected by the new government — these unique skills. From this platform, I urgently raised awareness of these rare Iraqi artwork skills which is fading due to the lack of support."
a new era of stories
community conversations today
Rana shares an engraved picture of a woman’s face on a circular metal canvas from her family home in Iraq "She wears traditional Egyptian jewellery, a transparent burqa (face covering) and make-up with kohl; this is a very well-known attire in the Egyptian countryside. "In Iraq we used to watch a lot of Egyptian drama/films which familiarised us with different Egyptian outfits and dialects in any part of Egypt. "It is a very special picture to me because it was hanging in my family house in Iraq until I emigrated in 2000 and I have always admired the beautiful artwork.
A new era of stories
a new era of stories
community conversations today
"However, this object is originally from Egypt; it was given by my uncle to my mother — as he lived in Egypt and his wife was Egyptian — when he visited us in the seventies. "I kept this picture because it reminds me of my childhood. "Now, this object is with me in the UK and started a new era of stories since I moved to the UK in 2003. "I will make sure this item will pass down to my daughters and they will pass it to their children as a sign of keeping our family heritage."
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