| ID_BAS |
4216
|
| TIPO |
4
|
| FOND |
24
|
| NFOND |
Мистецтво Близ. Сходу
|
| TXRAN |
1
|
| NTXRAN |
Основний фонд
|
| INVNOM |
72-БВ МХ
|
| SHIFR |
21
|
| INV1 |
72
|
| DEFWD |
Чайник зі сплющеним сферичним корпусом.
|
| CREAT |
XVI-XVII ст.
|
| CREAT1 |
1501
|
| CREAT2 |
1700
|
| SIZES |
В – 14; Низ – 9,7; Верх – 12; Об’єм - 53
|
| WAY |
з зібрання Б. І. та В. Н. Ханенків
|
| COLPR |
1
|
| SAFS |
Дві ручки відбиті, третя приклеєна. Шийка надщерблена.
|
| ATRIB |
1.Вязьмітіна М. МКІ. 1930. Персія, 16-17 ст.
2. Рапопорт І.В. (Ермітаж), 1963. Іран, Ісфахан, 16-17 ст.
3. Міллер Ю.А. (Ермітаж), 1961. Іран, Ісфахан, 16-17 ст.
|
| LEGENDA |
З кол. Ханенків / Архів МХ Оп. 1/од.зб. 10/ Сп. 3/ стор. 22 (17). Абхури
|
| STATUS |
1
|
| MESTIT |
Іран
|
| ALLNAMES |
72-БВ МХ. Чайник зі сплющеним сферичним корпусом.
|
| FOND_TXRAN |
24&1
|
| ANALOG |
1. Teapot signed Hatim. Kashan or Isfahan, 17-18 c. British Museum. H 14,5 cm./ ope A.U. Ackerman Ph. A Survey of Persian Art, vol. V, Plate 798
|
| NEW_DEFWD |
Чайник
|
| POBUTOV |
This teapot belongs to a type that was common in Iranian productions of the period. The metallic luster technique first appeared in Iraq during the 9th century and was particularly in fashion in Seljuk Iran. But, as the production process was complex, it was abandoned toward the middle of the 14th century. After an initial firing at a high temperature, a metal oxide decoration was painted on the piece. It was then re-fired at a lower temperature in a reducing atmosphere. Around 1650, however, lusterware had a revival and objects decorated by this technique were once again frequent. They lasted up until the 18th century. There were, nevertheless, certain technical modifications such as the change of the tonality of the luster from gold to brown. Moreover, the color of the luster often has a bluer or more violet reflection, a change that appears to be due to temperature variations during firing rather than to any modification in the composition of the glaze.
The type of decoration is also different. The Safavids favored faunal and floral motifs, arabesques and cartouches. Birds, flowers, leaves and trees - notably cypresses which were the symbol of beauty - are depicted on these wares.
It appears, however, that Safavid ceramic decoration was not systematically inspired by far-eastern motifs, but rather by the miniatures produced by the Iranian royal workshops (ketabkhaneh).
|