The Ottoman Hexagonal Tile With Floral Pattern

Shahagun, Bernardno. Florintine Codex. American Museum of Natural History. Painting by an Aztec artist, circa 1555.

The Beaker with Ibex Motifs is a prehistoric pottery art work, found in near-perfect condition during a 1906-1908 excavation of a Susian necropolis in Susa, Iran. The Beaker with Ibex Motifs is a large vessel with dimensions at 28.90 x 16.40 cm. Used by the first inhabitants of Susa, this beaker is a the first example of a funerary item. The identity of artist is unknown, however, it is thought the beaker was created sometime between 4200 and 3500 B.C.E.

located on the first floor of the Museum of Fine Arts Boston, in the Ancient Near East

A common Islamic art masterpiece is the use of tiles, more so the Iranian Star-shaped tile (Necipoglu 174). This is a 15th century artwork, probably made during the time when the Timurids ruled over Iran (Doak 136). This star-like tile; as illustrated in Figure I below, has a decoration of geometric shapes leaves and flowers on it, with a major flower being positioned right at the center of the tile. These tiles were made to cover outer walls of buildings, with designs and colorful patterns, to make such structures more beautiful. The tiles were fitted together using mortar on the walls of structures to create a mosaic design that adorned the outer walls of the structures.

The “Terracotta vase in the form of a bull's head” is dated ca. 1450 to 1400 B.C. from the Late Minoan II Period. The material used for the rhyton is terracotta and paint. The inventory number is 1973.35. The vase is located in the Metropolitan Museum of Art in the Greek and Roman Art Department in Gallery 151 at The Robert and Renée Belfer Court.

Copper-alloy basin with Christian and Islamic motifs, probably northern Iraq, mid-13th century AD. (1247-1249), brass inlaid with silver, H: 22.5 x 50.0 x 50.0 cm. Probably Damascus, Syria. The Freer Gallery of Art Museum, Smithsonian Institution.

It is made of stonepaste covered with copper-green glaze. The only decorations are patterns carved around the body of the plate instead of being painted. This piece closely resembles Chinese celadon wares from Longquan. The glaze was made from copper instead of iron that was normally used for celadon wares. Differed from traditional colorful Persian art, this plate only has one color. Its monochrome green color, the lack of decoration and short foot demonstrate its imitation of celadon wares. Safavid craftsmen did not stop at purely borrowing Chinese designs, but incorporated local traditions in different ways. The blue-and-white porcelain-like potteries with Persian shapes are one significant example. The Tulip Vase (Figure 3) has a baluster form body with three short nozzles. This stonepaste piece was painted in blue under transparent glaze, thus only has two basic colors: blue and white. On the wide flat rims of each nozzle, there are painted flower petals surrounding the center opening. On the neck of the vase, there are repeating decorative motifs including perhaps birds and clouds at the top, along with vertical flowers and leaves motifs closer to the body. The paintings on the top part of the body appear to have three identical birds and clouds in compartmentalized sections around the vase. Below the birds, there are bamboos, rocks, flowers and a peacock. At the lowest part, there are repeating decorations in geometric forms and vine motifs. The iconographies of swirly clouds, bamboos and rocks are very similar to common Chinese ones. The swirly clouds means fortune and heaven, while the bamboos represents longevity, resilience, flexibility, and strength. Judging from the blue and white color. Meanwhile, the birds, peacocks and patterns on the lower part of body could be seen in both Chinese and Islamic artworks. The most distinct part is the shape of this vase. It is often

This Madrasa is especially significant, because it is one of the earliest pieces of Islamic architecture to still be standing today. It was also one of the first Islamic architectural buildings to employ to use of decorated floral mosaic tiles which was uncommon during the Ilkhanid period but later mastered by the Timurids. Earlier mosaic designs were strictly geometric, but this new floral pattern gained popularity as time passed. While walking through the museum I was fascinated by several secular and religious pieces of art from the Islamic region. The reason that I chose to analyze this piece over the other exhibits was a result of my interest in mosque architecture, and because this was as close as I was able to get to an ancient piece of Islamic architecture. I have seen many qibla walls, many qurans, and many mihrabs, but this specific one was unlike the modern prayer niches in the mosques that I visit, it was a spectacular masterpiece of polychrome mosaic and it was unlike any religious architectural exhibit in the western world. It’s impossible to ignore the important role that the east Asian ideas of the Mongol empire played in the religious architecture of the Ilkhanid period, and had the Ilkhanids not been so heavily influenced by Mongol traditions their architecture would have had a completely different look and feel.

I created an Islamic Tile that came from the Ottoman Empire. My specific tile was created during the late Medieval Period around the 15th century. The Ottoman Empire began to expand in the early fourteenth century. They soon expanded to the West and conquered Bosporus and Dardanelles, which were separated from the Sea of Marmara. They also expanded to conquer the Balkans and developed a strong military with soldiers called janissaries. With the help of advanced technology, they were able to conquer many countries such as North America and Europe. The Ottoman Empire conquered many areas under the rule of Süleyman I. After the Ottoman Empire conquered Hungary and Austria, they advanced to Vienna and were defeated.

The artist of the piece chosen, The Mosque Lamp, is undefined. This particular artwork was created in Egypt and the date of its origin is recorded as C.1320. Creating this piece included the use of blown glass, enamel, gold, and silver stain. Using these particular materials the creator produced a lamp that looks like an inverted bell. Most onlookers would see this piece and come to the conclusion that the artist created a vase with an hour glass shape. Other shapes on the piece are the protruding small loops that were created in order for chains to be fed through so that this lamp could be hung for all to see. Viewers would predict that the maker of this wondrous lamp was wealthy due to the amount of gold used throughout the work. Besides the use of gold as a major color choice, the artist used iridescence which encompasses all colors. This use of iridescence creates a texture on the piece, which allows the viewer to see multiple colors at different angles. Another item on the lamp that creates texture is the sacred inscription that is in blue, circling the entire piece. This inscription is also the subject of the art itself.

The design is transferred to the ceramic using carbon on a paper stencil. The resulting dot pattern is then used as a guide for the hand painted bright colours. The decorated piece is fired again to produce

Five thousand years ago there was a place the greeks would later name Mesopotamia. Literally translated as “land between two rivers”. These two rivers were the Tigris and the Euphrates. It was also called the fertile crescent or the cradle of civilization. It is very convenient for early civilizations to have access to clean water, as they obviously could not ship it in from elsewhere until the advent of aqueducts. So this land between two rivers was one of the most prosperous and active back in the time period. At different times, it was ruled by the Sumerians, the Akkadians, the Babylonians, the Assyrians, and the Persians. They lived close to the natural world, and so their depictions

I chose to complete my art analysis on Sunkoo Yuh’s three-dimensional ceramic sculpture Athens Winter, which was completed sometime during 2008, in only a period consisting of six months (SunKoo Yuh: Seasons); the inspiration of the title comes from the place and season in which Sunkoo Yuh’s work was created (SunKoo Yuh: Seasons). By looking at the model, it is noticeable that Yuh used clay in order to create the organic form structure and had the paint glazed. It also appears that the artwork was made in two pieces conjoined together at the bottom of the rocks and above the wolf’s head. Throughout the work, I was able to see a variety of figures consisting of people, flowers, fish, rocks, mythological creatures, animals, skeletal remains,

One of Isaiah Zagar’s signature in his mosaics are what he calls “Doily Tiles.” These are usually created by taking a ball of clay and flatting it to a pancake shape. After they are flat he then takes a doily or objects and presses them into the clay. These objects leave an imprint which Isaiah then puts in the kiln to fire. The final step after the kiln is to paint them with glaze, and fire them one last time. He then places them on the wall where he feels they should go.

The manufacturing process of porcelain tiles begins with raw materials. The basic components of porcelain are clays and flints or feldspar, which are extracted by miners from minefields and quarries. The extraction process could only be taken place when it is surveyed by geologists and determined the possibility of the site which contain the particular type of soil and minerals which are usually nearby water, for instance lakes, rivers, caves, ravines and underwater. The extraction process could be taken place in