Bowl

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The Art & Architecture Thesaurus (AAT) (r) is a structured vocabulary for generic concepts related to art and architecture. It was developed by The Getty Research Institute to help research institutions become consistent in the terminology they use.Learn More

Object Name: 
Bowl
Accession Number: 
55.1.136
Dimensions: 
Overall H: 7.6 cm, Diam (max): 17.8 cm
Location: 
On Display
Date: 
800-999
Web Description: 
Many early Islamic wheel-cut objects were decorated in a style that was also used to carve stucco, stone, and wood at Samarra in the ninth century. This style, which used to be called “beveled,” is now known as “slant-cut.” The surface was cut and ground so that, in cross section, it looks like a check mark. This afforded the ornament a raised appearance. Fragments of slant-cut glass, dated to the ninth or 10th century, have been found at Samarra. This bowl displays a combination of relief and slant cutting. The two principal motifs - a standing bird with a small head and an elongated body, and a tree of life - appear four times. Presumably the bowl was fashioned from a glass disk that was sagged over a mold, then cut, ground, and polished.
Department: 
Provenance: 
Smith, Ray Winfield (American, 1897-1982), Source
1955-12-13
Category: 
Color: 
Material: 
Primary Description: 
Translucent deep green; few spherical bubbles. Probably slumped over mold; probably slant-cut. Bowl: hemispherical, with eight lobes. Rim has flat top and beveled inner surface formed by grinding; wall curves down and in, and has on inside, at junctions of lobes, sharp cusps that extend from rim to center of floor; base is slightly convex, with solid foot-ring; no pontil mark. Wall is decorated on outside with slant-cut ornament consisting of two alternating motifs, each repeated four times: (1) standing bird, facing left, with curved beak, small head, elongated body, tiny wing, and pointed tail; its neck is embellished with band of horizontal cuts, and wing and tail have transverse parallel cuts; and (2) tree of life, with trunk divided at top into two scrolling half-palmettes, and at midpoint into inverted palmette flanked by long, curving leaves.
Dining with the Sultan: The Fine Art of Feasting at the Islamic Courts
Venue(s)
Los Angeles County Museum of Art
Dining with the Sultan is a pan-Islamic exhibition that will span the eighth through nineteenth centuries (and perhaps beyond) and include some 150 works of art representing a rich variety of media from three continents. We expect this to be a transformative exhibition, one emphasizing our shared humanity rather than our singular histories. It will follow the model of LACMA’s 2011 exhibition Gifts of the Sultan: The Arts of Giving at the Islamic Courts. It similarly will introduce an American audience to Islamic art and culture with objects of undisputed quality and appeal, only this time viewed through the universal lens of fine dining. In considering the admittedly very substantial and diffuse theme of feasting at the Islamic courts, preliminary research has led us to cast as wide a net as possible in terms of both the time frame and the concept of “fine dining.” The resources that inform this study so far are two-fold: 1) Rich textual sources, including a broad array of cook books and books of delicacies, texts on etiquette, instructions for princes, royal memoirs, collections of food poetry and parody, dynastic histories, endowment deeds, kitchen accounts, dietetic and medicinal works, travelers’ narratives, and diplomatic reports and communiqués. 2) Works of art that can be identified from their inscriptions or specific shapes as containers and receptacles for food or beverage, or are associated with preparing and serving food, or else those works that are similar to examples described by the written sources, as well as works of art, primarily manuscript illustrations, which depict food preparation and dining. Clearly it is the second category that primarily will provide the visual focus (the flesh, so to speak) of the exhibition, while the first will supply the documentary framework (the bones, as it were) as conveyed through didactic materials and especially the exhibition catalogue. The sheer quantity of primary sources and the large number of relevant first-rate works of art together indicate the importance of food culture at the Islamic courts. The exhibition, which is in preparation for 2023, will require between 6,000-8,000 sf. It will be organized primarily by sub-themes, which will include topics such as coffee culture in the Ottoman era, outdoor feasting or picnicking, and the continuity of Late Antique/Persian royal cuisine and etiquette at the early Islamic courts. At LACMA, the installation will include our 18th-century Damascus Room in order to suggest the types of architectural spaces used for receiving and feasting family and honored guests. On a popular level, the exhibition will stimulate not only the eyes but the appetite, reminding visitors of the commonly shared pleasure of food—both its taste and its presentation; on a scholarly level the exhibition will provide much needed information on the enormous class of luxury objects that may be broadly defined as tableware, while also demonstrating how gustatory discernment was a fundamental activity at the great Islamic courts.
Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture
Venue(s)
Brigham Young University Museum of Art 2012-02-24 through 2012-09-29
Indianapolis Museum of Art 2012-11-02 through 2013-01-13
Museum of Fine Arts, Houston 2013-02 through 2013-06
Brooklyn Museum 2013-08 through 2013-11
As the premier art museum in the Mountain West and most attended university art museum in North America, the Brigham Young University Museum of Art (MOA) in Provo, Utah, is the organizing institution for the upcoming exhibition Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture. Renowned Islamic art scholar Dr. Sabiha Al Khemir is serving as Project Director of the exhibition that will feature more than 250 works of art from more than 40 lenders in ten countries and will travel throughout the United States. The exhibition will be on display in the galleries on the main level of the museum.
 
Glass of the Sultans
Venue(s)
Benaki Museum
Corning Museum of Glass
Metropolitan Museum of Art
Glass from the Ancient World
Venue(s)
Corning Museum of Glass 1957-06-04 through 1957-09-15
 
Ancient and Islamic Glass: Selections from the Corning Museum of Glass (2019) illustrated, pp. 106-107;
Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture (2012) illustrated, p. 224, top center; BIB# 127550
Shaping Colour Density, Light and Form in solid Glass Sculpture (2012) illustrated, p. 58, fig. 20; BIB# 131009
Chemical Analyses of Early Glasses (Volume 3) (2012) pp. 442, 682; BIB# 61154
Islamic Glass in the Corning Museum of Glass Volume One (2010) illustrated, pp. 278-279, #490; BIB# 113723
Histoire du Verre: les chefs-d'oeuvre de l'Islam (2007) illustrated, p. 47; BIB# 98424
Islamic Masterworks: 'Glass of the Sultans' at the Met (2001-11) illustrated, fig. 14;
Glass of the Sultans (2001) illustrated, p. 188, #93; pp. 176-178, #83 (parallel); BIB# 68105
Chemical Analyses of Early Glasses (Volume 1) (1999) pp. 101, 249; BIB# 61154
The Survey of Glass in the World (1992) illustrated, (no. 204), p. 99, 291; BIB# 44518
Hikari no shouchu: sekai no garasu = The glass (1992) p. 193, #145; BIB# 58995
The Glass Source Book (1990) Dust Jacket; BIB# 33844
A Tribute to Persia, Persian Glass (1972) illustrated, p. 15, no. 24; BIB# 65782
Islamic Relief Cut Glass: A Suggested Chronology (1961) illustrated, pp. 25-27, fig. 30; p. 28; BIB# AI57387
Glass from the Ancient World: The Ray Winfield Smith Collection (1957) illustrated, pp. 262-263, #532; BIB# 27315