Guillermo Abdel Musik
Ancient Near East
Islamic
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Orant Figure, Earthenware, Iran, Amlash Culture, 1250-1000 BCE
This object belongs to a group of figures found in a grave in Marlik, Northwestern Iran. Orant figures usually have their hands on or on top of their heads, probably in a mourning pose. The vessel attached to the belly is a reference to fertility.
Orant Figure, Earthenware, Iran, Amlash Culture, 1250-1000 BCE
This object belongs to a group of figures found in a grave in Marlik, Northwestern Iran. Orant figures usually have their hands on or on top of their heads, probably in a mourning pose. The vessel attached to the belly is a reference to fertility.
Orant Figure, Earthenware, Iran, Amlash Culture, 1250-1000 BCE
This object belongs to a group of figures found in a grave in Marlik, Northwestern Iran. Orant figures usually have their hands on or on top of their heads, probably in a mourning pose. The vessel attached to the belly is a reference to fertility.
Orant Figure, Earthenware, Iran, Amlash Culture, 1250-1000 BCE
This object belongs to a group of figures found in a grave in Marlik, Northwestern Iran. Orant figures usually have their hands on or on top of their heads, probably in a mourning pose. The vessel attached to the belly is a reference to fertility.
Dish, Iran, Kashan, Fritware, Late 13th - Early 14th c. CE
Made during the Mongol Period in Kashan, Iran known as the Ilkhanid period. Made with fritware paste coated in a green/grey slip and decorated with white slip and black mineral paint. Three phoenixes circle in a field of floral shapes. Kufic script circles the exterior lip.
Dish, Iran, Kashan, Fritware, Late 13th - Early 14th c. CE
Made during the Mongol Period in Kashan, Iran known as the Ilkhanid period. Made with fritware paste coated in a green/grey slip and decorated with white slip and black mineral paint. Three phoenixes circle in a field of floral shapes. Kufic script circles the exterior lip.
Dish, Iran, Kashan, late 13th, Fritware, Late 13th - Early 14th c. CE
Made during the Mongol Period in Kashan, Iran known as the Ilkhanid period. Made with fritware paste coated in a green/grey slip and decorated with white slip and black mineral paint. Three phoenixes circle in a field of floral shapes. Kufic script circles the exterior lip.
Silhouetteware Jug, Buff earthenware with black slip in relief and alkaline glaze , Iran, Seljuk, 12th c. CE
Figure decoration appeared on Seljuk pottery from the mid 12th century onwards. At first the decoration was carved or moulded while the glaze was monochrome, though on the lakabi (painting) carved wares several colours were used. Sometimes decoration was applied onto the pot, painted in black slip under a clear or coloured glaze to create a silhouette effect. Large birds, animals and fabulous creatures form the bulk of the imagery, though on the silhouette ware human figures appear. The silhouette figures often stand-alone though it is usual for human and animal forms, whenever they occur, to be superimposed on a foliage background.
source: www.farhangsara.com 
Silhouetteware Jug, Buff earthenware with black slip in relief and alkaline glaze , Iran, Seljuk, 12th c. CE
Figure decoration appeared on Seljuk pottery from the mid 12th century onwards. At first the decoration was carved or moulded while the glaze was monochrome, though on the lakabi (painting) carved wares several colours were used. Sometimes decoration was applied onto the pot, painted in black slip under a clear or coloured glaze to create a silhouette effect. Large birds, animals and fabulous creatures form the bulk of the imagery, though on the silhouette ware human figures appear. The silhouette figures often stand-alone though it is usual for human and animal forms, whenever they occur, to be superimposed on a foliage background.
source: www.farhangsara.com
Talavera Soup Cup or Sopera, Earthenware with tin glaze, Puebla, Mexico, Mid 19th c. CE
Shortly after Puebla was founded, craftsman from the city of Talavera de la Reina, located in Spain, were commissioned to come to the New World to produce fine tiles as well as other ceramic ware. These same craftsman were to teach the indigenous artisans their technique of Majolica pottery. Majolica decoratioing techniques came to Spain with Moors coming from Northern Africa. Spanish craftsman from Talavera de la Reina embraced the techniques of Majolica and also added to the art form. Chinese and Italian influences were incorporated. The indigenous craftsmen incorporated their artistic heritage with the techniques of Majolica pottery. A beautiful marriage was formed between the old world and the new, and Puebla became the birthplace of an exquisite art form known as Talavera Poblana. source: http://www.mexonline.com
Talavera Soup Cup or Sopera, Earthenware with tin glaze, Puebla, Mexico, Mid 19th c. CE
Shortly after Puebla was founded, craftsman from the city of Talavera de la Reina, located in Spain, were commissioned to come to the New World to produce fine tiles as well as other ceramic ware. These same craftsman were to teach the indigenous artisans their technique of Majolica pottery. Majolica decoratioing techniques came to Spain with Moors coming from Northern Africa. Spanish craftsman from Talavera de la Reina embraced the techniques of Majolica and also added to the art form. Chinese and Italian influences were incorporated. The indigenous craftsmen incorporated their artistic heritage with the techniques of Majolica pottery. A beautiful marriage was formed between the old world and the new, and Puebla became the birthplace of an exquisite art form known as Talavera Poblana. source: http://www.mexonline.com
Skull Vessel, Earthenware with terra sigillata decoration, Mexico, Aztec, 1521 CE
The skull symbol is extremely common in Aztec life: we can find in buildings, as part of representation of gods, in most of their texts. It is often combined with heads of live people. The presence of the skull is not surprising, considering that the Aztecs were very much a warring state with many rituals of human sacrifice.
Skull Vessel, Earthenware with terra sigillata decoration, Mexico, Aztec, 1521 CE
The skull symbol is extremely common in Aztec life: we can find in buildings, as part of representation of gods, in most of their texts. It is often combined with heads of live people. The presence of the skull is not surprising, considering that the Aztecs were very much a warring state with many rituals of human sacrifice.
Tripod Jar, Earthenware, 16 cm. h., Cyprus, 700-600 BCE
Food container. Its distinctive features are its clean foot ring supported by three coil feet, and its "bucranium", or bull head, handles.
Tripod Jar, Earthenware, 16 cm. h., Cyprus, 700-600 BCE
Food container. Its distinctive features are its clean foot ring supported by three coil feet, and its "bucranium", or bull head, handles.
Small Female Figurine, Earthenware, Japan, Final Jomon period, 1000-300 BCE
Some of the most intriguing works from the Jomon period are clay figurines called dogu (pronounced dough-goo). There are many theories on what they were used for with the main agreement being they were a talisman for good health or safe childbirth. As many were excavated in fragments, it's believed that after the wish was fulfilled, or not, the dogu was broken and thrown on the trash heap; that's where many were discovered. Another theory is that these were goddesses to whom Jomon people prayed to for food and health. Other explanations are toys for children, funerary offerings, or objects used in some unknown ritual.
"Land for the Workers" Plate, Porcelain with enamels, Soviet Era Russia, Original Artist: Nathan Altman, 1919 CE
"Agit-porcelain", inscribed with aphorisms from sources as varied as Karl Marx, Thomas More and the New Testament, echoes and repeats the revolutionary slogans to be found on the posters and banners in the streets and on the sides of the trains and buses taking these ideas to the towns and villages. ...The significance of porcelain in terms of our understanding of popular street art cannot be overestimated; for although the objects themselves very quickly became elite objects – not for domestic consumption or for use by the masses – the iconography and decoration serves as a lasting testament to much of the temporary art put up at the time to celebrate major revolutionary festivals.
Source: http://www.hermitagerooms.com
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