Cup Signed by Sunbat

Object Name: 
Cup Signed by Sunbat

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Object Name: 
Cup Signed by Sunbat
Place Made: 
Accession Number: 
Overall H: 10 cm; Rim Diam: 13.2 cm
On Display
possibly 786-787
Web Description: 
The Arabic inscription under the rim means “In the name of Allah the Merciful, the Compassionate. Blessing from Allah on the person who drinks from this cup. That which was made in Damascus at the hands of Sunbāṭ[?] in the year 1[?].”
Yeganeh, Mohammad, Source
Primary Description: 
Cup Signed by Sunbāṭ. Bluish colorless glass with dark brown and yellow silver stain; blown, tooled, stained. The cup has wide flaring sides, a small rounded base (does not stand upright), and a rim thickened by tooling. Horizontal bands of geometric, calligraphic and vegetal decoration were applied in luster stains around both the interior and the exterior. Approximately half of the decoration was applied on the interior, the other half, sometimes overlapping, on the exterior. A six-sided star decorates the bottom interior. Very few scattered small bubbles in the glass; pontil mark on base.
Dining with the Sultan: The Fine Art of Feasting at the Islamic Courts
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.
Byzantium and Islam: Age of Transition
Metropolitan Museum of Art 2012-03-12 through 2012-07-08
The Eastern Mediterranean, from Syria across North Africa, comprised the wealthy southern provinces of the Byzantine Empire at the start of the seventh century. By that century's end, the region was central to the emerging Islamic world. This exhibition will be the first to display the complex character of the region and its exceptional art and culture during the era of transition—from its role as part of the Byzantine state to its evolving position in the developing Islamic world. The dialogue between established Byzantine and evolving Islamic styles and culture will be shown through images of authority, religion, and especially commerce. Iconoclasm as it emerged during that period among the Christian, Jewish, and Islamic communities of the region will be addressed.
Iraq and China: Ceramics, Trade and Innovation
Smithsonian International Gallery 2004-11-09 through 2005-04-24
Glass of the Sultans
Benaki Museum
Corning Museum of Glass
Metropolitan Museum of Art
Isurāmu garasu=Islamic glass/イスラーム・ガラス=Islamic glass/真道洋子著; 桝屋友子監修 (2020) illustrated, part 2 color plate 1;
Ancient and Islamic Glass: Selections from the Corning Museum of Glass (2019) illustrated, pp. 102-103;
New Light on Old Glass: Recent Research on Byzantine Mosaics and Glass (2013) illustrated, pp. 330-331, pl. 2; BIB# 136397
Stained Glass--Radiant Art (2013) illustrated, p. 18, Fig. 8;
Byzantium and Islam: Age of Transition, 7th-9th Century (2012) illustrated, p. 241, #174; BIB# 130353
Richard La Londe and Friends (2009) illustrated, p. 148; BIB# 112312
Histoire du Verre: Le Moyen Age (2005) illustrated, p. 81; BIB# 86645
Glass of the Sultans (2001) illustrated, p. 208, #102; BIB# 68105
Hikari no shouchu: sekai no garasu = The glass (1992) p. 97, #153; BIB# 58995
Recent Important Acquisitions, 12 (1970) illustrated, pp. 174-175, #22; BIB# AI97752