The desire for the finer things in life is eternal, and the strive for beauty and elegance can be seen in all ages. In regards to Islamic pottery, the elaborate and decorative nature of pieces from Kashan cannot be beaten. Now I will analyze a specific production from Kashan, a lustre bowl produced during the Seljuq Period (11th to 13th centuries), labeled as “Object D-12” in the UCSB Jewel Room and depicted below: In this image one can see the same line of eyebrows, drawn out eyes, and thin lips on the center figure that can also be seen on the polo player of Object D-12.
Both men also have a halo surrounding them, enshrining them with a sense of importance and holiness. In this piece, dated at the early 13th century, the center figure appears to be a local ruler as opposed to a polo player, but both are portrayed as important and central figures (Fehevari 115). Since the rulers of the Seljuq period are believed to be Turkish and not Mongols, though this is a debated assumption, the prominence of the Mongoloid figure in Kashan ware is intriguing.
I tie in the Mongol to a theory of incorporation and of central dominance. Considering the domination of Central Asia by the Seljuqs, the presence of the Mongol figure could be an attempt to incorporate the new territories into the Seljuq dynasty and extend the rule of leaders through the use of pottery and art, as is typical in Islamic history (Yalman). In fact, during the Seljuq Empire there was a deep fascination in Chinese porcelain, which was deeply popular in new territories, and considered valuable.
Therefore, in addition to extending the empire to new lands, the appearance of Mongoloid figures could be an attempt to borrow the legitimacy of Chinese porcelain in a new declaration of wealth, which would make Object D-12 a piece of political statement and presumed worth. Now having looked at the central figure of the bowl, a glance at the chequered cypress leaves surrounding the polo player reveals even more about Object D-12.
The chequered leaves can also be seen in the following Kashan bowl, from the early 13th centuryArthur Upham Pope theorizes that lustre wares fall into two major categories: monumental and miniature, of which Kashan is inevitably associated with the miniature (Fehevari 106). Miniature style Kashan ware is associated with the height of mass production, and the typical “Kashan style”. in this image as well as Object D- 12 the chequered leaves and, “dense scroll designs around the horsemen… herald the arrival of the miniature style,” (Fehevari 106).
The status of miniature style reveal that both these bowls were produced when Kashan was becoming well known, and likely as collectable items of fine ceramics. With increased popularity and trademark, the Kashan bowls were gaining value and demand around the Seljuq Empire as symbols of elite status and of wealth. Logically then, Object D- 12 can be presumed to have been owned by a family of rank, and used on rare occasions for the purpose of establishing a reputation. Lastly the Kufic epigraphic band surrounding Object D-12 bears some importance.
The pseudo-writing was a popular trademark of Kashan art. Another example can be seen in the image below, which depicts another bowl of the early 13th century. The above example is especially relevant considering the presence of figures, floral designs, and Kufic inscriptions were exceedingly rare in Kashan styles (Fehevari 116). While the exact translation of either bowl is unknown, since Kufic was most commonly used in the reproduction of Qu’ran passages, it is likely that the inscriptions relate in some manner to religion.
The incorporation of figures with religious statements could indicate a merging of religion and popular culture and more importantly the government. Since Kashan pottery was fine ware the intermingling of central figures and religion could be a statement regarding the relationship between society and religion, and the presence of God in interaction. While I have already established the political relevance that Object D-12 may have had, the Kufic inscription underscores my earlier claim and again ties the concept of centrality to the bowl.
Although Object D-12 has a emphasized political nature it’s depiction of a polo player instead of a leader is significant, especially considering that polo players were a common subject of Islamic pottery art. Though there is no denying the political weight that this bowl bears, the polo player also highlights a culture of leisure and joy. Polo was a massively enjoyed and respected hobby that the Qabusnama hails as “… suitable occupations for powerful men, especially in youth… ” (Peacock 300).
The Seljuq Empire encouraged such pastimes and leisure in the men of the area, and the presence of a polo player on Object D-12 is an example of how everyday objects were used to advertise the celebration of the joy of the Seljuqs. Considering that the purchasers of such a bowl were almost undoubtedly wealthy, the depiction of a polo player is also a compliment to the customer, many of whom were polo players. By showing a polo player in such respectable garb and on a fine bowl, the importance of the polo players was inflated and manipulated to propagate more sales and the wealth of the empire.
Through Object D-12, happiness was associated with the empire, with wealth, and with fine collections. In conclusion, the meaning of Object D-12 was abundant. From the very onset of production, the Kashan bowl was imbued with value and prestige simply due to the expertise and time involved in creating it. In addition to this, much of the art of the bowl bears some sort of meaning. The Mongoloid figure shows an attempt of the inclusion of Central Asia as well as an increasing interest in Chinese Porcelain. The Kufic band emphasizes the prominence of religion in society.
The chequered leaves place the bowl as a pure miniature style, and therefor a product of the height of Kashan romanticizing. Lastly, the prominent polo player reveals the lifestyle of leisure lived by the owners of Object D-12 and other Kashan lustre ware. All of these factors coalesce to hint at the value of Object D-12 and it’s use. Due to the intricate design of Object D-12 and the complexity in creation known to me by its status as a Kashan lustre bowl of the Seljuq period, the bowl is most likely a fine production that was owned by the elite and used a status symbol as opposed to a typical object.
