Following the death of the prophet Muhammad in AD 632, the future of Islam lay in the hands of four successive Caliphs, who sought to build on Muhammad’s legacy and expand the frontiers of Islam. The final of these Caliphs, Muhammad’s cousin Ali ibn Abi Talib, deposed various regional governors, whom he considered corrupt. This included Mu’awiya, the brother of a previous Caliph; Mu’awiya would not tolerate such an indignity, and began a brutal and bloody civil war, known as the First Fitna. The conflict ended with the assassination of Ali, as he prayed in the Mosque of Kufa, in AD 661. Mu’awiya became Caliph, and founded the Umayyad Dynasty. No longer would the Caliph be chosen by his predecessor, or by a council of leading Muslims. Instead, the Caliphate became a hereditary monarchy, with Mu’awiya at the centre. For a hundred years, Mu’awiya and his successors dominated the Muslim world. But this was not to last; they were overthrown by the Abbasid Dynasty, descended from Muhammad’s uncle Abbas ibn Abd al-Muttalib, and supported by the followers of Ali, who never accepted his assassination or the new Umayyad rule.

The Umayyads and the subsequent Abbasids laid the foundation for Islamic art. At first, the main influences were the Late Antique naturalistic tradition, and the more formal modes of Byzantine and Sassanid art. But gradually, the Islamic world began to formulate its own artistic forms, focussed especially on animal, vegetal and figural motifs. This elegant strainer jug is of a globular, near-spherical, form. It was constructed in four parts, with the foot and lower portion of the body, and the shoulder moulded separately, with the neck and handle added afterwards. The seams of these joins are masterfully hidden with the use of horizontal stripes. The narrow foot is undecorated, but the underside of the body is attractively moulded with various stripes and floriate elements. Incised cross-hatching adds texture to the negative space. The shoulder of the vessel is decorated with a relief of animals: lions, ibex, deer, antelope and birds. The animals are all depicted in action, and the whole scene seems to depict lions hunting. The spaces between the animals are decorated with vegetal motifs. Parallels for the pattern can be found in CC.94 and CC.96, both also in the Barakat Collection. The neck and simple rim of the piece are decorated with lightly incised wavy lines, and a handle rises steeply from the shoulder to just below the rim. At the base of the neck is a neatly incised strainer, consisting of seventeen holes at regular intervals. It is likely that this was intended to keep insects and other pollutants away from the jug’s contents. There are small chips to the jug’s rim; otherwise it is in excellent condition.

Scholarship has been dismissive of the Umayyad and early Abbasid pottery, with one article suggesting that ‘there was little pottery of merit’ from the period. Most scholarly attention is drawn to the later Abbasid: in AD 800, the first traders from Tang Dynasty China made their way to the Abbasid heartland, and brought with them the decorative techniques of the Chinese potters. After then, Islamic pottery is associated with the same ingenious use of glazes, and the same experimentation with form and function, which characterises Chinese porcelain. However, there is much that is noteworthy about these early Umayyad and Abbasid attempts. While it may be unglazed, and the handiwork a little rough and ready, the elegance of the form, and the intricacy of the decoration should not be underestimated.