Unglazed Jug, 10th Century CE - 11th Century CE
Terracotta
7.1 x 9.8
LO.1307
“Cursed before the Lord be the man who rises up and rebuilds this city, Jericho” Book of Exodus, Joshua 6:2 Unglazed, whitish earthenware jug; elliptical-shaped body formed of two mould-made...
“Cursed before the Lord be the man who rises up and rebuilds this city, Jericho”
Book of Exodus, Joshua 6:2 Unglazed, whitish earthenware jug; elliptical-shaped body formed of two mould-made halves, the lower with integral foot; thrown, cylindrical neck with prominent flange just below midpoint; strap handle, convex in section; relief decoration to body consisting of motif of alternating ibex and palmette roundels against concentric circles, reiterated at shoulders; lower body with two motifs of palm leaves surmounted by stylised stars; some cut-ornamentation to the lower neck.
According to legend, Jericho was razed to the ground by the Israelite army in 1405 BCE and was not rebuilt until some 550 years later.
While archaeological evidence is disputed on that front, it is known that following destruction by earthquake in ACE 660, the city was rebuilt under the Abbasids and would soon become known as “City of the Palms”, famous for its dates, bananas and water.
Up until the first Christian crusaders arrived in the region in 12th century, Jericho was a melting pot of different cultures; Muslims, Christians and Jews all lived side by side. The artistic vocabulary incorporated influence across a vast area and reflected and reiterated the dynamic and vibrant social fabric.
Yet, resisting the tendency for continual change, this piece articulates the continuity of a longstanding praxis in Palestine that endures and remains unchanged for millennia. Whitish, unglazed wares see little change in material, form and function over centuries. Simple technology for simple function. Most likely used to cool or even flavour water.
We often find these vessels richly adorned with motifs borrowed from both contemporary and pre-Islamic sources - the roundels and pearl motif mimic Sassanian metalwork and the rosette perpetrates an ancient Mesopotamian tradition transmitted to Islam by Classical, Byzantine and Persian sources.
The ibex constitutes another pre-Islamic motif that heralds from Samarra during sixth millennium BC. These early examples of the Ibex show, as here, the antlers as long and curling. It is thought they represent the ‘Tree of Life’ and can be broadly classified as a fertility symbol.
The Tree of Life appears elsewhere in Palestine. Hisham’s Palace was constructed 5km north of the town between ACE 724-743. Here, a mosaic depicting the Tree of Life – one of the finest examples of Umayyad art – can be found. Though it is thought that the palace was never completed, archaeological evidence suggests significant occupation between ACE 900-1000 and an attempted restoration in 12th Century, coinciding with this period of great upheaval in Palestine.
Soon after falling to the Turks in ACE 1071, the first Crusaders arrived in the Palestine. The mood was perhaps one of reflection. Indeed, it is during 12th – 13th centuries that we see a revival of effort put into the decoration of unglazed wares and some very fine pieces being produced.
Parallels can also be drawn with contemporaneous wares from Iran and Afghanistan - again, we see the use of pearl and roundels - and it is possible to speak of a shared vocabulary between artisans throughout the empire. The aforementioned characteristics suggest that metalwork is the chief source of inspiration. In addition, the cut ornamentation mimics the decoration of wood or possibly glass and the roundels, decorative cast or repousse working.
A good example of unglazed ware that not only typifies Palestinian ceramic production at this time but demonstrates the spread of new influences throughout the empire. cf. Ceramics of the Islamic World in the Tareq Rajab Museum, I.B.Tauris (London, 2000). pp.189-202. Large jug, buff earthenware with moulded, carved and incised decoration. The two halves of the large spherical body present different designs: the lower half carries three horizontal registers, filled by leafs or four-petaled rosettes, while the upper half has series of large bosses, surrounded by dotted fields; tall tapering neck is attached which, almost half way has a collar, formed at the place where the handle is attached to it. Syria, Abbasid period, 10th – 11th century.
Geza Ferhavari
Book of Exodus, Joshua 6:2 Unglazed, whitish earthenware jug; elliptical-shaped body formed of two mould-made halves, the lower with integral foot; thrown, cylindrical neck with prominent flange just below midpoint; strap handle, convex in section; relief decoration to body consisting of motif of alternating ibex and palmette roundels against concentric circles, reiterated at shoulders; lower body with two motifs of palm leaves surmounted by stylised stars; some cut-ornamentation to the lower neck.
According to legend, Jericho was razed to the ground by the Israelite army in 1405 BCE and was not rebuilt until some 550 years later.
While archaeological evidence is disputed on that front, it is known that following destruction by earthquake in ACE 660, the city was rebuilt under the Abbasids and would soon become known as “City of the Palms”, famous for its dates, bananas and water.
Up until the first Christian crusaders arrived in the region in 12th century, Jericho was a melting pot of different cultures; Muslims, Christians and Jews all lived side by side. The artistic vocabulary incorporated influence across a vast area and reflected and reiterated the dynamic and vibrant social fabric.
Yet, resisting the tendency for continual change, this piece articulates the continuity of a longstanding praxis in Palestine that endures and remains unchanged for millennia. Whitish, unglazed wares see little change in material, form and function over centuries. Simple technology for simple function. Most likely used to cool or even flavour water.
We often find these vessels richly adorned with motifs borrowed from both contemporary and pre-Islamic sources - the roundels and pearl motif mimic Sassanian metalwork and the rosette perpetrates an ancient Mesopotamian tradition transmitted to Islam by Classical, Byzantine and Persian sources.
The ibex constitutes another pre-Islamic motif that heralds from Samarra during sixth millennium BC. These early examples of the Ibex show, as here, the antlers as long and curling. It is thought they represent the ‘Tree of Life’ and can be broadly classified as a fertility symbol.
The Tree of Life appears elsewhere in Palestine. Hisham’s Palace was constructed 5km north of the town between ACE 724-743. Here, a mosaic depicting the Tree of Life – one of the finest examples of Umayyad art – can be found. Though it is thought that the palace was never completed, archaeological evidence suggests significant occupation between ACE 900-1000 and an attempted restoration in 12th Century, coinciding with this period of great upheaval in Palestine.
Soon after falling to the Turks in ACE 1071, the first Crusaders arrived in the Palestine. The mood was perhaps one of reflection. Indeed, it is during 12th – 13th centuries that we see a revival of effort put into the decoration of unglazed wares and some very fine pieces being produced.
Parallels can also be drawn with contemporaneous wares from Iran and Afghanistan - again, we see the use of pearl and roundels - and it is possible to speak of a shared vocabulary between artisans throughout the empire. The aforementioned characteristics suggest that metalwork is the chief source of inspiration. In addition, the cut ornamentation mimics the decoration of wood or possibly glass and the roundels, decorative cast or repousse working.
A good example of unglazed ware that not only typifies Palestinian ceramic production at this time but demonstrates the spread of new influences throughout the empire. cf. Ceramics of the Islamic World in the Tareq Rajab Museum, I.B.Tauris (London, 2000). pp.189-202. Large jug, buff earthenware with moulded, carved and incised decoration. The two halves of the large spherical body present different designs: the lower half carries three horizontal registers, filled by leafs or four-petaled rosettes, while the upper half has series of large bosses, surrounded by dotted fields; tall tapering neck is attached which, almost half way has a collar, formed at the place where the handle is attached to it. Syria, Abbasid period, 10th – 11th century.
Geza Ferhavari