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Mina’i is a modern collectors’ term for ceramics made in Iran during the late 12th to early 13th centuries. The term mina’i, translates as “enamelled” in Persian, designating the colored glass pigments used to paint detailed figural decoration on vessels or tiles, which were then fixed on the ceramic base by multiple firings. The use of a wide range of colors, including turquoise, red, green, purple, and black, also led these types of ceramics to be called by the Persian term “haft rang,” or “seven colors.”
Mina’i ware scenes often depict courtly pursuits, such as feasting, fighting, or poetry and music performances. These colorful compositions created complex narrative scenes which paralleled manuscript painting. These colorful compositions created complex narrative scenes which paralleled manuscript painting. This footed bowl’s interior features a pattern of two seated figures, possibly courtiers. Each pair is separated by a stylized floral motif that alludes to a garden environment, where courtly scenes such as this one were frequently set. A band of geometric shapes marks the interior rim, and a loose naskhi inscription encircles the outer body of the bowl.
H: 3 9/16 × Diam: 7 13/16 in. (9.1 × 19.8 cm)
medium: fritware, white underglaze, black, blue, dark green, dark purple, pink, red, and white overglaze enamel, with traces of gilding
dynasty: Saljuk Dynasty
Walters Art Museum, 1931, by bequest.
Saint Catherine (1347-1380) was the daughter of a prosperous Sienese cloth dyer. At the age of six, she saw a vision of Christ and thereafter dedicated herself to chastity, penance, and good works. She became much beloved in Siena for selflessly caring for victims of the Black Death. This panel, with 1966.2, was once part of a predella (or pedestal) of a large altarpiece painted for the Hospital Church of Siena. The main scene of this altarpiece, showing the Presentation of Christ in the Temple (now preserved in Siena) was ordered by the Pork Butchers Guild (the Pizzicaiuoli) in 1447. The predella was added later when Catherine was canonized in 1461. In the first panel, she kneels before an altar and reaches up to choose from the monastic garments offered by Saints Dominic, Augustine, and Francis, all founders of religious orders. Catherine takes the habit of Saint Dominic, which she wore as the founder of the Sisters of Penance. The second panel shows, at the right, Saint Catherine giving her cloak to a beggar. The beggar was really Christ in disguise, and at the left returns the cloak to her. For this act of charity, the cloak perpetually protected its wearer from the cold.
Italy, Siena
tempera and gold on wood
Framed: 35.6 x 35.7 x 4.5 cm (14 x 14 1/16 x 1 3/4 in.); Unframed: 28.7 x 28.9 cm (11 5/16 x 11 3/8 in.)
Did you know...
Giovanni di Paolo painted both large altarpieces and small manuscripts.
Gift of the John Huntington Art and Polytechnic Trust
This early cylinder seal is inscribed with hieroglyphic signs that spell the personal names Nefer-Maat-Ked and Nefer-Sobek, as well as some enigmatic titles. Although the original context of this seal is unknown, several examples of sealings and seals that include the name of an official Nefer-Maat-Ked have been excavated in multiple sites across Egypt. Nefer-Maat-Ked seems to have been an official under several kings, including Khasekhemwy (ca. 2649 BCE), the last king of the Second Dynasty, and Third Dynasty king Djoser, the builder of the Step Pyramid at Saqqara (ca. 2667-2648 BCE). This cylinder seal acted as an administrative tool, connecting its owner with the central royal authority.
Egyptian
H: 3/4 × W: 1 1/4 in. (1.9 × 3.2 cm)
medium: granodiorite
culture: Egyptian
dynasty: Twelfth Dynasty
Walters Art Museum, 1931, by bequest.
The royal feast is set in a green landscape dotted with flowers and blossoming bushes against a gold sky with wisps of blue and white clouds. The group of figures in the upper left includes a falconer, horses, attendants, and two hunting cheetahs, while servers transport food and drink in gold and ceramic vessels, some presumably Chinese blue and white porcelain. Possibly this banquet was offered after a courtly hunt, a prestigious symbol of power and wealth. Among the groups of men sitting on elaborate carpets are three Chinese officials, identifiable by their black hats, kneeling together on the ground. Although their presence indicates the presence of foreign cultures within the Timurid court, the painting also reveals that not all are welcome to the feast; in the bottom half of the page a guard wields a stick to drive a group of men out of the garden.
Iran, Shiraz, Timurid period (1370-1501)
Opaque watercolor, ink, gold, and silver on paper
Overall: 32.7 x 22 cm (12 7/8 x 8 11/16 in.); Image: 26.1 x 20.7 cm (10 1/4 x 8 1/8 in.)
Did you know...
The painting on this folio is the first half of a double-page frontispiece now detached from a <em>Shahnama </em>(Book of Kings) manuscript. CMA 1956.10 is the left half of the frontispiece.
John L. Severance Fund
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H. 2 in. (5.1 cm); W. 9 in. (22.9 cm); D. 9 7/8 in. (25.1 cm)
medium: Gold and silver maki-e on gold-sprinkled lacquer
Metropolitan Museum of Art, New York, NY 14.40.841a–e 1914
Bequest of Benjamin Altman, 1913
A merchant’s wife carries on affairs while her husband is away. On the journey home, the merchant buys a woman’s company for the night. His own wife answers the call. When the merchant’s identity is revealed, the wife attacks him in order to distract from her own indiscretions. Townspeople surrounding the merchant’s chamber look on at the sound of the assault.
Mughal India, court of Akbar (reigned 1556–1605)
gum tempera, ink, and gold on paper
Painting only: 14.8 x 10.3 cm (5 13/16 x 4 1/16 in.); Overall: 20 x 13.6 cm (7 7/8 x 5 3/8 in.)
Did you know...
Both the brothel madam and one of the customers in the courtyard bite the index finger in a gesture of surprise.
Gift of Mrs. A. Dean Perry
In this portrait, the Ōbaku school Buddhist monk Duli Xingyi (born Tai Li, 1596–1672), whose name is pronounced Dokuryū Shōeki in Japanese, sits upon a woven mat holding a ceremonial scepter known as a <em>ruyi</em>, or <em>nyoi</em> in Japanese. Above his head is an insciption he added to the painting in 1671, the year before his death. It may be translated to read: <br><br>Contemplative emptiness: the moon suspended over the village at midnight. Suddenly my soul is startled by the howl of an ape. Who could know that it would arouse me beyond my senses, and bring me an inner vision from Mt. Sumeru.<br>(translated by Stephen Addiss and Kwan S. Wong) <br><br>Originally from what is now the city of Hangzhou in China, Duli emigrated to Japan in 1653, where he took monastic vows. His skills in calligraphy and seal carving were formidable. Painter Kita Genki combined Chinese brush styles he learned in Nagasaki with Western painting techniques to capture Duli's likeness.
Japan, Edo period (1615–1868)
hanging scroll; ink and color on paper
Painting: 111.4 x 50.1 cm (43 7/8 x 19 3/4 in.); Mounted: 211.8 x 63.8 cm (83 3/8 x 25 1/8 in.)
Mr. and Mrs. William H. Marlatt Fund