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The Arts of Islam, Arts Council of Great Britain, 1976, ISBN 0-7287-0081-6; Mason, Robert B. (1995). "New Looks at Old Pots: Results of Recent Multidisciplinary Studies of Glazed Ceramics from the Islamic World". Muqarnas: Annual on Islamic Art and Architecture. XII. Brill Academic Publishers. ISBN 90-04-10314-7.
The Seljuk (Seljuq) Empire was a Sunni Muslim Turko-Persian empire that spanned over Anatolia to Central Asia between 1037 and 1194 until the Mongol invasion. Extending from Syria to India, diverse cultures made up Seljuk territory, and as Seljuk rulers adhered and assimilated into Persian-Islamic traditions, Seljuk artwork became an amalgam of Persian, Islamic, and Central Asian—Turkic ...
An exhibition at the Emirates Palace in Abu Dhabi in 2008 was, at the time, the largest exhibition of Islamic art ever held. [8] The Wall Street Journal has described it as the greatest collection of Islamic Art in existence. [4] According to Edward Gibbs, Chairman of Middle East and India at Sotheby's, it is the best such collection in private ...
Some pieces imitate earthenware, by painting a decoration on a white slipware. Others use cassiterite instead of tin in the glaze, which causes alterations, which the Susa soil, quite acidic, favors: the glazes turn gray after prolonged burial. Tripod jug, 8th - 9th centuries, Clay ceramic, decoration painted on clouded glaze, Louvre (MAO S.524).
The poet Cratinus calls the chicken "the Persian alarm". In Aristophanes's comedy The Birds (414 BC) a chicken is called "the Median bird", which points to an introduction from the East. Pictures of chickens are found on Greek red figure and black-figure pottery. In Ancient Greece, chickens were still rare and were rather prestigious food for ...
Tabriz was historically a major center of ceramic art in the Islamic world, and its artists appear to have emigrated and worked in many regions from Central Asia to Egypt. [8] The artistic style of these tiles – and of other Ottoman art – was influenced by an "International Timurid" taste that emerged from the intense artistic patronage of ...
Lajvardina wares are usually characterized by a dark blue or turquoise underglaze, however there are also examples of white or more green tinted ceramics. [9] The second layer of glaze, which adds the abstracted decoration, is often white, red and black, with inlaid pieces of cut gold leaf.
Desire for blue and white Chinese pottery in Iran spurred import of large quantities of the pottery, as well as domestic production of Chinese-influenced blue and white ware. Islamic potters in the Abbasid period seldom produced pure white ware and often decorated their work with cobalt blue geometric and floral motifs. [29]