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Raqqa" Ceramics of the Freer Gallery of Art, Washington, D.C: a Paper Submitted to the Department of the History of Art in Partial Fulfillment

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"Raqqa" ceramics of the Freer Gallery of Art, Washington, D.C: A paper submitted to the Department of the History of Art in partial fulfillment ... Master of Arts Author: Bloom Jonathan (Jonathan M.) Persistent link: http://hdl.handle.net/2345/bc-ir:103491 This work is posted on eScholarship@BC, Boston College University Libraries. 1975 This work is licensed under the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/). · "RAQQA" CE.RA.MtCS IN mE :FBEER GAT:LERY OF AR~ WASHINGTON~ D.C. A PAPER SUBMITTED TO THE DEPARTMENT OF THE HISTORY OF ART IN PARTLt\.L FULFILLMENT OF THE BEQ'UIJ.iEMENTS FOR THE DEGREE OF MASTER OF JMS :Bf JONATHAN MAX BLOOM ANN ARBOR, MICHIGAN AUGUST 1975 TABLE OF CONTENTS LISf OF ILLUSTRATIONS ••••••••••••••••••••••••••••••••••••••• v Aa:KN"O~OO~NTS •••••••••••••••••••••••••••••••••••••••••••• vi. PART ONE ESSAY I. INTRODUOTION •••••••••••••••••••••••••••••••••••••••••• l Histor,r of the Collection•••••••••••••••••••••••••• , II. SCHOLARLY VIEWS ••••••••••••••••••••••••••••••••••••••• 5 III. ANALYSIS OF THE COLLECTION •••••••••••••••••••••••••••l8 Technique: Body and Glaze ••••••••••••••••••••••••18 Forms and Funct1ons ••••••••••••••••••••••••••••••• 20 Decoration: Glaz~Programs ••••••••••••••••••••••••••••••••• 27 ~ o~ Glaze-Program.s •••••••••••••••••••••• 37 Vocc:bulary and Grammar ••••••••••••••••••••••••• 39 IV. COMPARANDA •••••••••••••••••••••••••••••••••••••••••••49 Syr1a••••••••••••••••••••••••••••••••••••••••••••• 49 Iran•••••••••••••••••••••••••••••••••••••••••••••• 51 Anatolia •••••••••••••••••••••••••••••••••••••••••• 53 Bgypt•••••••••••••••••••••••••••••••••••••••••••••54 Metal and Glass ••••••••••••••••••••••••••••••••••• 56 V. DATING AND CONOLUSIONS ••••••••••••••••••••••••••••••• 58 "Simultane1ty• •••••••••••••••••••••••••••••••••••• 58 External. Evidence for Dating and Concl.us1ons •••••• 61 NOTES •••••••••••••••••••••••••••••••••••••••••••••••••••••• 67 API'!ENDIX A: PROVENANCE OF~ !BEER OOLLEOTIOB •••••••••••• 97 APPENDIX B: CLASSIFICAfiON OF fHE COLLECTION ACCORDING TO FORM~~ FUNOTION ••••••••••••••••••••••• 99 .APPENDIX 0: CLASSIFICATION OF THE COLLECTION ACCORDING !0 GLAZE-TYP.B.e•••••••••••••••••••••••••••106 APPENDIX D: REGISTER OF INSORIPTIONS •••••••••••••••••••••lll 1ii SOURCES CONSu"'LTED •••••••••••••••••••••••••••••••••••••••••114 ILLUSTRA.TIONS ••••••••••••••••••••••••••••••••••••••••••••• l22 PART TWO CATALOGUE OF THE COLLECTION INTRODUCTION TO THE CATALOGUE •••••••••••••••••••••••••••••150 OAT.AWGlJE • ••••••••••••••••••••••••••••••••••••••••••••••• • 151 iT LIS~' OF ILLUSTRATIONS Map l.. Ceramic Sites in the Near East Referred to in the Text •••••••••••••••••••••••••••••••••••••• 123 2. Archaeol.ogical. Plan of Raqqa ••••••••••••••••••••••• l24 Chart 1. Shapes According to Appendix B••••••••••••••••••••• l25 (Overl.ay: Glaze Programs) 2. Schematic Representation of the Derivation of Shapes :from. Geometric Forms •••••••••••••••••••126 Dish, formerly in the Gutmann Collection, Berl.in••• l.28 wares attributed to Rayy••••••••••••••••••••• l.29 Persian l.uster wares •••••••••••••••••••••••••130 Dated. Persian l.uster ware bowl., combin1Dg a cursive inscription and a reserve kufic inscription•••••••••••••••••••••••••••••••••••••• l.3J. 5. Wat1 til.e from Knbadabad ••••••••••••••••••••••••••• l32 6. Wall til.e from Kubadabad ••••••••••••••••••••••••••• l33 7. A. waster from Fustat ••••••••••••••••••••••••••••••• l34 a. The D1Arenberg Basin •••••••••••••••••••••••••••••••l.35 9. The Freer canteen•••••••••••••••••••••••••••••••••• l36 l.O. Ewer dated 657/1.258, Louv.re; Detail. of same •••••••• 137 ll. Bottl.e, in the collection of Ta.kashi Omiya, Kyoto ••138 12. Pitcher, from the ool.lection of Fahim Kouohakji •••• l39 1.3. The "Peacock Dish" in the Metropolitan Museum of Art ••••••••••••••••••••••••••••••••••••••••••• 140 1.4. Dish. decorated with a peacock from the Idemitsu Collection, !okyo •••••••••••••••••••••••••••••••• l41 15. Stand attributed to Raqqa in the British Museum ••••142 16. Stand attributed to Baqqa from the co1lection of Sami Shoucair••••••••••••••••••••••••••••••••• 143 1.7. Relief jar from the Gcldm,~ Collection............... 144 18. Sherd from Raqqa decorated in rel.ief carving and underglase black under a turquoise glaze ••• e•••••l45 1.9. 2he Ke~arkian Ewer ••••• ~•••••••••••••••••••••••••••l.46 20. Relief revetment tile found at Raqqa •••••••••••••••147 21. .Fragment o:f' a stand :tound at Ba.qqa •••••••••••••••••l.48 v AOKl~OWLEDGMENTS I wish to express my thanks to the Department of the History of Art at the University of Michigan for giving me a Freer Fellowship which ene.bled me to undertake this study at the F.reer Gallery of Art in Washington, D.O. In addition, I would like to thank the entire staff of the Gal1ery for aiding me in every possibJ.e way during my research. Special thanks are due Thomas Chase in the Tecb.nical. Laboratory for his hel.p buiJ.ding a ceramic pantograph and his assistance in tecbnical matters, and Dr. Esin AtU. Associate Curator of Near Eastern Art at the Gal.lery, who has been genero·as beyond the call. of duty with her knowledg~£:., time, and concern. Biram Woodward, of the University of Michigan. has been most hel.pf'tll. with his ~ suggestions about this first effort in the mu.ddl.ed worl.d of Islamic ceramics. vi PART ONE ESSAY I: INTRODUCTION The Freer Gallery of Art is Washington, D.C. has, among its large holdings of Islamic ceramics, a sizeable collection of pottery traditionally attributed to medieval Raqqa, a city on the Euphrates in northern Syria.1 While there are over one hundred and fifty pieces in this collection, they have rarely seen the light o~ day in the Gallery or in print.2 This eo-called Raqqa pottery rarely attains the technical and esthetic levels of other Islamic ceramic traditions;3 never­ theless, it provides the art-historian with an interesting set of prob~ems. Foremost is the one of attribution: was Raqqa a ceramic center, what were the wares produced there, amJ.· .when was this production? Secondly, what is the relation­ ship of this pott.ery to other wares of Syria, Egypt, Anatolia, and Iran? And finally, there is the question of its very quality: if these wares were produced at Raqqa, what does it tell us about the place in which it was produced. Following George Kubler,4 is it possible to determine the shape of its time? Sauvaget has categorized Islamic ceramic production into five classes: elements of architecture, vessels for the collection and retention of water, table ware, furniture and ~~shings, and diverse objects with no similarity except that of the material from which they were made.5 To my know- 1 2 ledge, a statistical analysis of these classes has not been made, yet, considering the rol.e of the col:tection and conser­ vation of water and the extensive use of brick and til.e in the arid Near East, it woul.d not be il.logical to assume that irre­ spective of site, the J.argest proportion of the ceramic pro­ duction was devoted to water,vessel.s and architectural eJ.ements. With this in mind, the Freer collection of "Raqqa" ceramics in no way could be said to characterize the presumed ceramic production of the site, for it contains but a few architectural el.ements such as gl.azed til.es, and no unglazed water vessels. Rather, the col1ection consists entirely of gl.azed pieces, mostl.y table ware, such as dishes, bowls, ewers, bottl.es, pitchers, storage jars, a few J.amps, figurines, and a group of' stands, often known as "tabourets." There are twenty-odd "programs" of gl.a.ze decoration among the examples in the collection, yet over a third of the pieces are covered with a transparent, strong, bluish green glaze, and over a fifth are covered with the same glaze with the addition of black underglaze painting. A quarter of the collection is decorated with overglaze luster painting, in almost every case it being of a deep or moderate reddish brown col.or.6 As for the body of this ware, it is usually soft {rarely more than 3 on Moh's scale), friable, rather coarse, and of a variable pal.e, "buff" tone. 7 Exceptional. pieces may be harder, finer, or whiter, but the Syrian wares are usua.ll.y easy to distinguish from the reddish Egyptian wares, or the consistently finer and whiter Pt:rsian ones. 3 History of the Collection The scope of the collection cannot be disassociated from the personality of Charles L. Freer and his buying habits, who started the collection in 1902 with the purchase from D.G. Kelekian of a one-handled pot (02.244)8 attributed to Raqqa.9 In that same year he bought five more pieces of "Raqqau ware from Kelekian, and in succeeding years continued to buy it in inscreasing quantities from dealers in New York and Paris. In 1908, he made a trip to the Near East, which took him to Cairo, Al.eppo, Beirut, Jerusalem, and Istanbul, where he pur­ chased forty-six pieces purported1y from Raqqa in addition to the eleven bought from dealers in the West. In 1909, 1910, and 1911, he again went to buy from dealers in the Near East. After that time, only two more pieces attributed to Raqqa were bought by Freer before his death; subsequent to that, the Freer Gallery has bought four pieces attributed to Raqqa and one attributed to Ayyubid Syria. The majority of the pieces, therefore, were bought during that period when the name "Raqqa" first was heard on the art-market •10 Freer started buying Japanese ceramics in 1892; two years later he began collecting Chinese ceramics, and two years after that Korean. One cannot help
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    Identity and Christian-Muslim interaction : medieval art of the Syrian Orthodox from the Mosul area Snelders, B. Citation Snelders, B. (2010, September 1). Identity and Christian-Muslim interaction : medieval art of the Syrian Orthodox from the Mosul area. Peeters, Leuven. Retrieved from https://hdl.handle.net/1887/15917 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/15917 Note: To cite this publication please use the final published version (if applicable). 2. The Syrian Orthodox in their Historical and Artistic Settings 2.1 Northern Mesopotamia and Mosul The blossoming of ‘Syrian Orthodox art’ during the twelfth and thirteenth centuries is mainly attested for Northern Mesopotamia. At the time, Northern Mesopotamia was commonly known as the Jazira (Arabic for ‘island’), a geographic entity encompassing roughly the territory which is located between the Euphrates and Tigris rivers, and lies north of Baghdad and south of Lake Van. 1 In ecclesiastical terms, this region is called Athur (Assyria). 2 Early Islamic historians and geographers distinguished three different districts: Diyar Mudar, Diyar Bakr, and Diyar Rabi cah. Today, these districts correspond more or less to eastern Syria, south-eastern Turkey, and northern Iraq, respectively. Mosul was the capital of the Diyar Rabi cah district, which ‘extended north from Takrit along both banks of the Tigris to the tributary Ba caynatha river a few kilometres north of Jazirat ibn cUmar (modern Cizre) and westwards along the southern slopes of the Tur cAbdin as far as the western limits of the Khabur Basin’.
  • Ernst E. Herzfeld

    Ernst E. Herzfeld

    116 OBITUARY The Booh of Wisdom and Lies (Kelmscott Press) and Visramiani (Oriental Translation Fund). His interest in everything relating to Georgia dated from the period of his youthful travels in that country, of which he published an account as early as 1888. W. FOSTER. Ernst E. Herzfeld Few scholars of our generation have contributed so much to increasing our knowledge of the sources for the study of ancient Western Asia in periods or directions of which little was previously known as Ernst Herzfeld. An established scholar of considerable reputation not only in his own University, Berlin, by 1910, his early work was encouraged by Eduard Meyer, the historian, and aided by the active co-operation of Friedrich Sarre, whose outstanding achievements there has yet been little chance to appreciate. Friend- ship and co-operation with Koldewey and the archaeological archi- tects of the mission of the Deutsche Orient-Gesellschaft in Iraq, led him to admire their methods and made him a sound field- worker, without obscuring his firm understanding of the necessity for combining the study of language and history with archaeology if the tasks before him were to be accomplished. His training fitted him for the very diverse tasks he undertook. On his many journeys he continually noted new sites, and thus pointed the way for many later excavations, particularly in Persia. At some sites already well known he carried out fresh work unex- pectedly rich in results, notably at Samarra and Persepolis. He continually brought to our attention neglected subjects, such as the nature of the metal-working craft in the first millennium B.C.
  • Friedrich Sarre and the Discovery of Seljuk Anatolia

    Friedrich Sarre and the Discovery of Seljuk Anatolia

    Friedrich Sarre and the discovery of Seljuk Anatolia Patricia Blessing The German art historian Friedrich Sarre (1865-1945) is well known for his role in the excavations of the Abbasid palaces of Samarra (Iraq) from 1911-13, which he directed together with Ernst Herzfeld (1879-1948), and as the director of the Islamic collection in the Berlin Museums from 1921 until 1931. Less well studied is Sarre’s work on Seljuk art and architecture, which presents some of the earliest studies of the subject during a period in the late nineteenth and early twentieth centuries when Islamic art history was a nascent academic field. Sarre’s work on medieval Anatolia has been analysed neither in the context of early studies on Seljuk architecture, nor in the general account of the emergence of Islamic art history as a field of scholarship. In a recent article, Oya Pancaroğlu has focused on Sarre’s first book on Anatolia, Reise in Kleinasien (Journey in Anatolia). 1 This travel account is based on Sarre’s exploration of the area in 1895, which lead to his wider interest in Islamic architecture. Sarre’s later work, however, much of which also includes work on the Seljuk monuments of Konya and on Seljuk art more broadly, has not yet been investigated in the context of the early art historical literature on Seljuk Anatolia. Sarre’s work remains rooted in the earlier vein of scholarship on Islamic art, particularly valuing Persianate objects and buildings. Thus, this article argues that, unlike many scholars who worked on the arts of Anatolia in the 1920s and 1930, after the foundation of the Republic of Turkey, Sarre didn’t focus on the region as the cradle of a nation, nor did he study Seljuk art as an expression of Turkish culture.
  • Curriculum Vitae Research

    Curriculum Vitae Research

    Curriculum Vitae Elspeth R. M. Dusinberre Contact Information: Classics Department, 248 UCB University of Colorado Boulder, CO 80309-0248 tel.: (303) 735-5550 / fax: (303) 492-1026 e-mail: [email protected] Academic Employment: spring 2014 Professor, Classics Department, University of Colorado Boulder spring 2006 Associate Professor with tenure, Classics Department, University of Colorado Boulder 8/2000-2006 Assistant Professor, Classics Department, University of Colorado Boulder Education: 12/1997 Ph.D. Interdepartmental Program in Classical Art and Archaeology, University of Michigan at Ann Arbor 8-12/1996 Fellow of the American Research Institute in Turkey 1994-1995 Regular Member, John Williams White Fellow, American School of Classical Studies at Athens 5/1991 A.B., summa cum laude in Classical Archaeology, Harvard University, Cambridge, Massachusetts Research Awards and Honors: 2020 Named College of Arts and Sciences Professor of Distinction, University of Colorado Boulder 2018 112th Distinguished Research Lecturer, University of Colorado Boulder 2015 James R. Wiseman Award, for Empire, Authority, and Autonomy in Achaemenid Anatolia Books Written (single-author): Empire, Authority, and Autonomy in Achaemenid Anatolia (Cambridge and New York: Cambridge University Press 2013) Gordion Seals and Sealings: Individual and Society (Philadelphia, PA: University of Pennsylvania Museum of Archaeology and Anthropology Press 2005) Aspects of Empire in Achaemenid Sardis (Cambridge: Cambridge University Press 2003) Other Books: <co-edited volume:> The Art of Empire in Achaemenid Persia: Festschrift in Honor of Margaret Cool Root, E. R. M. Dusinberre, M. B. Garrison and W. F. M. Henkelman eds. (Leiden: Nederlands Instituut voor het Nabije Oosten 2020) Elspeth R. M. Dusinberre (2) Books Forthcoming 2021 and 2022: The Gordion Excavations, 1950-1973: Final Reports Volume II.