Publication Date
Twelfth-thirteenth/eighteenth-nineteenth centuries
Publication Place
-
Museum of Mediterranean and Near Eastern Archeology
Subject
Nonsense.
Type
Other
Language
Undetermined
Digital
Yes
Manuscript
No
Physical Dimensions
الارتفاع: 139سم؛ العرض: 73.5سم
Library
Museum With No Frontiers
Library Asset ID
S.N.I. 032
Record ID
object;ISL;se;Mus01;11;ar
Library Location
Museum of Mediterranean and Near Eastern Archeology
Date
Twelfth-thirteenth/eighteenth-nineteenth centuries
Notes
The rectangular panel consists of square tiles dominated by a white and brown horseshoe-shaped arch (mihrab), with yellow half-moons on it. It is supported on two columns decorated with broken patterns in turquoise, matte yellow, and light blue. Each of them stands on a base and carries a crown. The space under the arch is filled with a dense, symmetrical floral design emerging from a large bowl with a base equipped with another smaller bowl and a vase above it. The bowl is surrounded symmetrically by cypress trees with half moons above them, in addition to two birds near the base. Two other birds appear on the edge of the large bowl, from which also emerges a cluster of flowers. Emerging from the center of the vase is an imaginative arrangement of flowers with branches of other flowers at its edges. Clusters of flowers emanating from the branches of the central axis fill the space within the arch, and the rest of the space under the arch is occupied by two clusters of flowers that resemble carnations and peony, two leaves with serrated edges, in addition to clusters of white flowers. Above the arch, the empty space is symmetrically filled with split palm leaves and scroll decorations on a blue background. Although the potter used well-known decorative patterns such as the mihrab, vases and symmetrical flowers, the decoration of this painting is unique. During the eleventh and twelfth / seventeenth and eighteenth centuries in Tunisia, colored ceramics dominated architectural decoration. After the first firing process of the tiles, they are coated with an opaque white tin glaze. Then the mineral colors used for the colored decorations are applied to the dry glaze. During the second firing process, the glaze and colors fuse together. The colors used, such as antimony yellow, coppery turquoise, dark teal and manganese brown, are traditional for decorative porcelain and are suitable for use at high temperatures.
Sample Text
Friederike Voigt "Fatile painting" in Discover Islamic Art. Museum Without Borders, 2026. https://islamicart.museumwnf.org/database_item.php?id=object;ISL;se;Mus01;11;ar
