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Seljuq period Stock Photos and Images
Ewer Seljuq period 4th quarter of 12th Century (1040-1157) IRAN, KASHAN Frit body, overglaze lustre decoration, opaque white glaze (Kashan is a city in Iran, In the Middle Ages, it was also known for ceramics, 12th - 14th century, high quality pottery and tiles.) Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/ewer-seljuq-period-4th-quarter-of-12th-century-1040-1157-iran-kashan-frit-body-overglaze-lustre-decoration-opaque-white-glaze-kashan-is-a-city-in-iran-in-the-middle-ages-it-was-also-known-for-ceramics-12th-14th-century-high-quality-pottery-and-tiles-image397331940.htmlRM2E2C0XC–Ewer Seljuq period 4th quarter of 12th Century (1040-1157) IRAN, KASHAN Frit body, overglaze lustre decoration, opaque white glaze (Kashan is a city in Iran, In the Middle Ages, it was also known for ceramics, 12th - 14th century, high quality pottery and tiles.)
Jug, 1100s-1200s. Iran or Iraq, late Seljuq Period, 11th-13th Century. Earthenware; overall: 15.5 x 11 cm (6 1/8 x 4 5/16 in Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/jug-1100s-1200s-iran-or-iraq-late-seljuq-period-11th-13th-century-earthenware-overall-155-x-11-cm-6-18-x-4-516-in-image240364801.htmlRMRY1FN5–Jug, 1100s-1200s. Iran or Iraq, late Seljuq Period, 11th-13th Century. Earthenware; overall: 15.5 x 11 cm (6 1/8 x 4 5/16 in
Folio from a Qur'an Manuscript. Dimensions: H. 11 3/4 in. (29.8 cm) W. 8 3/4 in. (22.2 cm). Date: ca. 1180. These folios from a dispersed Qur'an exemplify the transition during the Seljuq period from Qur'ans written in kufic script on parchment to those copied in the more rounded new-style writing on paper. By the late twelfth century, the practitioners of the new style had perfected its mannered, slightly eccentric forms. As seen here, these include the extreme elongation of tall letters and the ellipse formed by combining two of these letters, lam and alif. Museum: Metropolitan Museum of Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/folio-from-a-quran-manuscript-dimensions-h-11-34-in-298-cm-w-8-34-in-222-cm-date-ca-1180-these-folios-from-a-dispersed-quran-exemplify-the-transition-during-the-seljuq-period-from-qurans-written-in-kufic-script-on-parchment-to-those-copied-in-the-more-rounded-new-style-writing-on-paper-by-the-late-twelfth-century-the-practitioners-of-the-new-style-had-perfected-its-mannered-slightly-eccentric-forms-as-seen-here-these-include-the-extreme-elongation-of-tall-letters-and-the-ellipse-formed-by-combining-two-of-these-letters-lam-and-alif-museum-metropolitan-museum-of-image213132867.htmlRMPAN143–Folio from a Qur'an Manuscript. Dimensions: H. 11 3/4 in. (29.8 cm) W. 8 3/4 in. (22.2 cm). Date: ca. 1180. These folios from a dispersed Qur'an exemplify the transition during the Seljuq period from Qur'ans written in kufic script on parchment to those copied in the more rounded new-style writing on paper. By the late twelfth century, the practitioners of the new style had perfected its mannered, slightly eccentric forms. As seen here, these include the extreme elongation of tall letters and the ellipse formed by combining two of these letters, lam and alif. Museum: Metropolitan Museum of
Quilted cap with star-patterned silk, 1000s. Iran or Iraq, Buyid or Seljuq period. Lampas: silk; overall: 22 x 20 x 20 cm (8 11/16 x 7 7/8 x 7 7/8 in Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/quilted-cap-with-star-patterned-silk-1000s-iran-or-iraq-buyid-or-seljuq-period-lampas-silk-overall-22-x-20-x-20-cm-8-1116-x-7-78-x-7-78-in-image240399949.htmlRMRY34GD–Quilted cap with star-patterned silk, 1000s. Iran or Iraq, Buyid or Seljuq period. Lampas: silk; overall: 22 x 20 x 20 cm (8 11/16 x 7 7/8 x 7 7/8 in
Wooden Sarcophagus Seljuq Period Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-wooden-sarcophagus-seljuq-period-143475255.htmlRMJ9BT47–Wooden Sarcophagus Seljuq Period
Mirror inspired by Chinese models, Iran, Seljuq period, 1100s AD, bronze, 42.136 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/mirror-inspired-by-chinese-models-iran-seljuq-period-1100s-ad-bronze-42136-image401256837.htmlRM2E8PR59–Mirror inspired by Chinese models, Iran, Seljuq period, 1100s AD, bronze, 42.136
Art inspired by Large Turquoise Jar, 12th–13th century, Made in Iran, Earthenware; molded and glazed, H. 31 1/2 in. (80 cm), Ceramics, This large earthenware jar holds four registers of molded decoration containing motifs typical of the Seljuq period, including winged griffins set, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-large-turquoise-jar-12th13th-century-made-in-iran-earthenware-molded-and-glazed-h-31-12-in-80-cm-ceramics-this-large-earthenware-jar-holds-four-registers-of-molded-decoration-containing-motifs-typical-of-the-seljuq-period-including-winged-griffins-set-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462821173.htmlRF2HTY93H–Art inspired by Large Turquoise Jar, 12th–13th century, Made in Iran, Earthenware; molded and glazed, H. 31 1/2 in. (80 cm), Ceramics, This large earthenware jar holds four registers of molded decoration containing motifs typical of the Seljuq period, including winged griffins set, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Wooden Sarcophagus - Seljuq Period. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/wooden-sarcophagus-seljuq-period-image590593565.htmlRM2W8RT39–Wooden Sarcophagus - Seljuq Period.
Art inspired by Riding Coat, first half 13th century, Attributed to probably Iran, Silk; weft-faced compound twill (samite), Textile: H. 68 7/8 in. (175 cm), Textiles-Costumes, In addition to gold jewelry, affluent people during the Seljuq period and slightly later wore sumptuous silk, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-riding-coat-first-half-13th-century-attributed-to-probably-iran-silk-weft-faced-compound-twill-samite-textile-h-68-78-in-175-cm-textiles-costumes-in-addition-to-gold-jewelry-affluent-people-during-the-seljuq-period-and-slightly-later-wore-sumptuous-silk-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462823771.htmlRF2HTYCCB–Art inspired by Riding Coat, first half 13th century, Attributed to probably Iran, Silk; weft-faced compound twill (samite), Textile: H. 68 7/8 in. (175 cm), Textiles-Costumes, In addition to gold jewelry, affluent people during the Seljuq period and slightly later wore sumptuous silk, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Bowl, mid-1200s. Iran, Kashan, Seljuq period of Iran (1037–1194). Fritware with overglaze-painted design (minai ware); Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/bowl-mid-1200s-iran-kashan-seljuq-period-of-iran-10371194-fritware-with-overglaze-painted-design-minai-ware-image448125783.htmlRM2H11W07–Bowl, mid-1200s. Iran, Kashan, Seljuq period of Iran (1037–1194). Fritware with overglaze-painted design (minai ware);
Incense Burner, Iran, 12th century. Birds figure prominently in the decorative repertoire of the Seljuq period, and were probably associated with good fortune. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/incense-burner-iran-12th-century-birds-figure-prominently-in-the-decorative-repertoire-of-the-seljuq-period-and-were-probably-associated-with-good-fortune-image415179637.htmlRM2F3D1T5–Incense Burner, Iran, 12th century. Birds figure prominently in the decorative repertoire of the Seljuq period, and were probably associated with good fortune.
The defeat of Manuel I at The Battle of Myriokephalon, aka Battle of Myriocephalum, 1176. Manuel I Komnenos or Comnenus, 1118 – 1180. Byzantine Emperor. From Hutchinson's History of the Nations, published 1915. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-the-defeat-of-manuel-i-at-the-battle-of-myriokephalon-aka-battle-of-172814757.htmlRMM14AYH–The defeat of Manuel I at The Battle of Myriokephalon, aka Battle of Myriocephalum, 1176. Manuel I Komnenos or Comnenus, 1118 – 1180. Byzantine Emperor. From Hutchinson's History of the Nations, published 1915.
Turkey - Cappadocia - Around Kayseri. Sultan Han caravanserai, Seljuk period (completed in 1236) Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-turkey-cappadocia-around-kayseri-sultan-han-caravanserai-seljuk-period-48078923.htmlRMCP654B–Turkey - Cappadocia - Around Kayseri. Sultan Han caravanserai, Seljuk period (completed in 1236)
Mosaic with Arabic scripture. 1242-1243. From the Madrasa of Sircali, Konya (Turkey). Pergamon Museum. Berlin. Germany. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-mosaic-with-arabic-scripture-1242-1243-from-the-madrasa-of-sircali-53306537.htmlRMD2M90W–Mosaic with Arabic scripture. 1242-1243. From the Madrasa of Sircali, Konya (Turkey). Pergamon Museum. Berlin. Germany.
Iran. Isfahan. Masjed-e Jame (Friday Mosque). The Oljeitu Mihrab, constructed in 1310 by Mongol ruler Oljeitu. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-iran-isfahan-masjed-e-jame-friday-mosque-the-oljeitu-mihrab-constructed-55853766.htmlRMD6TA1A–Iran. Isfahan. Masjed-e Jame (Friday Mosque). The Oljeitu Mihrab, constructed in 1310 by Mongol ruler Oljeitu.
Bottle Seljuq period 12th - 13th Century (1040-1157) IRAN, KASHAN Frit body, overglaze lustre decoration, opaque white glaze (Kashan is a city in Iran, In the Middle Ages, it was also known for ceramics, 12th - 14th century, high quality pottery and tiles.) Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/bottle-seljuq-period-12th-13th-century-1040-1157-iran-kashan-frit-body-overglaze-lustre-decoration-opaque-white-glaze-kashan-is-a-city-in-iran-in-the-middle-ages-it-was-also-known-for-ceramics-12th-14th-century-high-quality-pottery-and-tiles-image397331947.htmlRM2E2C0XK–Bottle Seljuq period 12th - 13th Century (1040-1157) IRAN, KASHAN Frit body, overglaze lustre decoration, opaque white glaze (Kashan is a city in Iran, In the Middle Ages, it was also known for ceramics, 12th - 14th century, high quality pottery and tiles.)
Fragment of Wall Painting with a Scene of Two Horsemen Slaying a Serpent. Dimensions: H. 19 1/2 in. (49.5 cm) W. 23 1/4 in. (59.1 cm) Wt. 41 lbs. (18.6 kg). Date: early 20th century. Medieval texts report that wall paintings often decorated building interiors, and some examples have been excavated. However, extant wall paintings from the Seljuq period are rare. This fragment, probably from the spandrel of an arch, contains a row of standing and kneeling figures in the upper register and a scene of two horsemen slaying a serpent in the lower register. Even more than mina'i ware pottery, it g Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragment-of-wall-painting-with-a-scene-of-two-horsemen-slaying-a-serpent-dimensions-h-19-12-in-495-cm-w-23-14-in-591-cm-wt-41-lbs-186-kg-date-early-20th-century-medieval-texts-report-that-wall-paintings-often-decorated-building-interiors-and-some-examples-have-been-excavated-however-extant-wall-paintings-from-the-seljuq-period-are-rare-this-fragment-probably-from-the-spandrel-of-an-arch-contains-a-row-of-standing-and-kneeling-figures-in-the-upper-register-and-a-scene-of-two-horsemen-slaying-a-serpent-in-the-lower-register-even-more-than-minai-ware-pottery-it-g-image213149746.htmlRMPANPJX–Fragment of Wall Painting with a Scene of Two Horsemen Slaying a Serpent. Dimensions: H. 19 1/2 in. (49.5 cm) W. 23 1/4 in. (59.1 cm) Wt. 41 lbs. (18.6 kg). Date: early 20th century. Medieval texts report that wall paintings often decorated building interiors, and some examples have been excavated. However, extant wall paintings from the Seljuq period are rare. This fragment, probably from the spandrel of an arch, contains a row of standing and kneeling figures in the upper register and a scene of two horsemen slaying a serpent in the lower register. Even more than mina'i ware pottery, it g
Fragment with tripartite band, 1000s - 1100s. Iran or Iraq, Seljuq period. Plain weave: silk warp and cotton weft (mulham); gold leaf and ink; overall: 18.4 x 30.2 cm (7 1/4 x 11 7/8 in Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragment-with-tripartite-band-1000s-1100s-iran-or-iraq-seljuq-period-plain-weave-silk-warp-and-cotton-weft-mulham-gold-leaf-and-ink-overall-184-x-302-cm-7-14-x-11-78-in-image240399991.htmlRMRY34HY–Fragment with tripartite band, 1000s - 1100s. Iran or Iraq, Seljuq period. Plain weave: silk warp and cotton weft (mulham); gold leaf and ink; overall: 18.4 x 30.2 cm (7 1/4 x 11 7/8 in
Tile Mosaic Panel Seljuq period Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-tile-mosaic-panel-seljuq-period-143475253.htmlRMJ9BT45–Tile Mosaic Panel Seljuq period
Double Leaves of a Qur’an in Kufic Script, 12th century, Ink on deerskin, A: 5 5/8 × 4 5/16 in. (14.3 × 10.9 cm), Iranian/Persian, Islamic, Seljuq period (1037 - 1194), Calligraphy Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/double-leaves-of-a-quran-in-kuficscript-12thcentury-ink-on-deerskin-a-5-58-4-516-in-143-109-cm-iranianpersianislamic-seljuq-period-1037-1194-calligraphy-image392977593.htmlRM2DR9JX1–Double Leaves of a Qur’an in Kufic Script, 12th century, Ink on deerskin, A: 5 5/8 × 4 5/16 in. (14.3 × 10.9 cm), Iranian/Persian, Islamic, Seljuq period (1037 - 1194), Calligraphy
Footed Bowl, late 1100s-early 1200s. Iran, probably Kashan, Seljuq period, late 12-early 13th century. Fritware, pierced and underglaze painting; overall: 9.8 x 18.2 cm (3 7/8 x 7 3/16 in Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/footed-bowl-late-1100s-early-1200s-iran-probably-kashan-seljuq-period-late-12-early-13th-century-fritware-pierced-and-underglaze-painting-overall-98-x-182-cm-3-78-x-7-316-in-image240365217.htmlRMRY1G81–Footed Bowl, late 1100s-early 1200s. Iran, probably Kashan, Seljuq period, late 12-early 13th century. Fritware, pierced and underglaze painting; overall: 9.8 x 18.2 cm (3 7/8 x 7 3/16 in
Art inspired by Folio from a Qur'an Manuscript, ca. 1180, Attributed to Eastern Iran or present-day Afghanistan, Ink, opaque watercolor, and gold on paper, H. 11 3/4 in. (29.8 cm), Codices, This folio from a dispersed Qur'an exemplifies the transition during the Seljuq period from Qur', Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-folio-from-a-quran-manuscript-ca-1180-attributed-to-eastern-iran-or-present-day-afghanistan-ink-opaque-watercolor-and-gold-on-paper-h-11-34-in-298-cm-codices-this-folio-from-a-dispersed-quran-exemplifies-the-transition-during-the-seljuq-period-from-qur-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462820601.htmlRF2HTY8B5–Art inspired by Folio from a Qur'an Manuscript, ca. 1180, Attributed to Eastern Iran or present-day Afghanistan, Ink, opaque watercolor, and gold on paper, H. 11 3/4 in. (29.8 cm), Codices, This folio from a dispersed Qur'an exemplifies the transition during the Seljuq period from Qur', Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Embroidered fragment with bird among vines, 1100s. Iraq, Baghdad, Seljuq period. Plain weave: silk warp and cotton weft (mulham); embroidery, couched and split stitches: silk and metallic thread; overall: 7.3 x 21.6 cm (2 7/8 x 8 1/2 in Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/embroidered-fragment-with-bird-among-vines-1100s-iraq-baghdad-seljuq-period-plain-weave-silk-warp-and-cotton-weft-mulham-embroidery-couched-and-split-stitches-silk-and-metallic-thread-overall-73-x-216-cm-2-78-x-8-12-in-image240399956.htmlRMRY34GM–Embroidered fragment with bird among vines, 1100s. Iraq, Baghdad, Seljuq period. Plain weave: silk warp and cotton weft (mulham); embroidery, couched and split stitches: silk and metallic thread; overall: 7.3 x 21.6 cm (2 7/8 x 8 1/2 in
Tile Mosaic Panel - Seljuq period Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/tile-mosaic-panel-seljuq-period-image478811136.htmlRM2JPYMDM–Tile Mosaic Panel - Seljuq period
Fragment with inscriptions, before 1982. Iran, in the style of the Seljuq period (1037–1194). Silk: lampas weave; overall: 28 x 35.5 cm (11 x 14 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragment-with-inscriptions-before-1982-iran-in-the-style-of-the-seljuq-period-10371194-silk-lampas-weave-overall-28-x-355-cm-11-x-14-in-image448109759.htmlRM2H114FY–Fragment with inscriptions, before 1982. Iran, in the style of the Seljuq period (1037–1194). Silk: lampas weave; overall: 28 x 35.5 cm (11 x 14 in.).
Incense Burner, Iran, 12th century. Birds figure prominently in the decorative repertoire of the Seljuq period, and were probably associated with good fortune. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/incense-burner-iran-12th-century-birds-figure-prominently-in-the-decorative-repertoire-of-the-seljuq-period-and-were-probably-associated-with-good-fortune-image415179980.htmlRM2F3D28C–Incense Burner, Iran, 12th century. Birds figure prominently in the decorative repertoire of the Seljuq period, and were probably associated with good fortune.
The capture of Diogenes at The Battle of Manzikert in 1071 by Alp Arslan. Alp Arslan, 1029 – 1072, real name Muhammad bin Dawud Chaghri. Second Sultan of the Seljuk Empire. Romanos IV Diogenes, aka Romanus IV. Member of the Byzantine military aristocracy crowned Byzantine emperor. After the painting by Margaret Dovaston, (1884-1954). From Hutchinson's History of the Nations, published 1915 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-capture-of-diogenes-at-the-battle-of-manzikert-in-1071-by-alp-arslan-alp-arslan-1029-1072-real-name-muhammad-bin-dawud-chaghri-second-sultan-of-the-seljuk-empire-romanos-iv-diogenes-aka-romanus-iv-member-of-the-byzantine-military-aristocracy-crowned-byzantine-emperor-after-the-painting-by-margaret-dovaston-1884-1954-from-hutchinsons-history-of-the-nations-published-1915-image178872354.htmlRMMB09EA–The capture of Diogenes at The Battle of Manzikert in 1071 by Alp Arslan. Alp Arslan, 1029 – 1072, real name Muhammad bin Dawud Chaghri. Second Sultan of the Seljuk Empire. Romanos IV Diogenes, aka Romanus IV. Member of the Byzantine military aristocracy crowned Byzantine emperor. After the painting by Margaret Dovaston, (1884-1954). From Hutchinson's History of the Nations, published 1915
Ewer with Rooster's Head, Seljuq period 4th quarter of 12th Century (1040-1157) IRAN, KASHAN Frit body, overglaze lustre decoration, opaque white glaze (Kashan is a city in Iran, In the Middle Ages, it was also known for ceramics, 12th - 14th century, high quality pottery and tiles.) Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/ewer-with-roosters-head-seljuq-period-4th-quarter-of-12th-century-1040-1157-iran-kashan-frit-body-overglaze-lustre-decoration-opaque-white-glaze-kashan-is-a-city-in-iran-in-the-middle-ages-it-was-also-known-for-ceramics-12th-14th-century-high-quality-pottery-and-tiles-image397331946.htmlRM2E2C0XJ–Ewer with Rooster's Head, Seljuq period 4th quarter of 12th Century (1040-1157) IRAN, KASHAN Frit body, overglaze lustre decoration, opaque white glaze (Kashan is a city in Iran, In the Middle Ages, it was also known for ceramics, 12th - 14th century, high quality pottery and tiles.)
Rooster headed Ewer 13th century Iran Kashan Stonepaste molded underglaze painted 28 cm Seljuq period Iranian Persia Persian Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-photo-rooster-headed-ewer-13th-century-iran-kashan-stonepaste-molded-underglaze-51175932.htmlRMCY77BT–Rooster headed Ewer 13th century Iran Kashan Stonepaste molded underglaze painted 28 cm Seljuq period Iranian Persia Persian
Textile Fragment with Double-Headed Eagles and Facing Lions. Dimensions: H. 7 7/8 in. (20 cm) W. 19 1/2 in. (49.5 cm). Date: 13th century. The design on this fragmentary textile consists of two rows of roundels: the upper roundels contain double-headed eagles, and the lower ones, confronted lions. The roundels are situated against a dense vegetal background. The luxurious medium, together with the combination of these two creatures, would have carried regal significance in the Seljuq period and beyond. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/textile-fragment-with-double-headed-eagles-and-facing-lions-dimensions-h-7-78-in-20-cm-w-19-12-in-495-cm-date-13th-century-the-design-on-this-fragmentary-textile-consists-of-two-rows-of-roundels-the-upper-roundels-contain-double-headed-eagles-and-the-lower-ones-confronted-lions-the-roundels-are-situated-against-a-dense-vegetal-background-the-luxurious-medium-together-with-the-combination-of-these-two-creatures-would-have-carried-regal-significance-in-the-seljuq-period-and-beyond-museum-metropolitan-museum-of-art-new-york-usa-image213119127.htmlRMPAMBHB–Textile Fragment with Double-Headed Eagles and Facing Lions. Dimensions: H. 7 7/8 in. (20 cm) W. 19 1/2 in. (49.5 cm). Date: 13th century. The design on this fragmentary textile consists of two rows of roundels: the upper roundels contain double-headed eagles, and the lower ones, confronted lions. The roundels are situated against a dense vegetal background. The luxurious medium, together with the combination of these two creatures, would have carried regal significance in the Seljuq period and beyond. Museum: Metropolitan Museum of Art, New York, USA.
Persian, Kashan,12-13th Century,Seljuq - Seljuk period, Iran, Persia. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/persian-kashan12-13th-centuryseljuq-seljuk-period-iran-persia-image182912980.htmlRMMHGBAC–Persian, Kashan,12-13th Century,Seljuq - Seljuk period, Iran, Persia.
Art inspired by Folio from a Qur'an Manuscript, ca. 1180, Attributed to Eastern Iran or present-day Afghanistan, Ink, opaque watercolor, and gold on paper, H. 11 3/4 in. (29.8 cm), Codices, These folios from a dispersed Qur'an exemplify the transition during the Seljuq period from Qur', Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-folio-from-a-quran-manuscript-ca-1180-attributed-to-eastern-iran-or-present-day-afghanistan-ink-opaque-watercolor-and-gold-on-paper-h-11-34-in-298-cm-codices-these-folios-from-a-dispersed-quran-exemplify-the-transition-during-the-seljuq-period-from-qur-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462820605.htmlRF2HTY8B9–Art inspired by Folio from a Qur'an Manuscript, ca. 1180, Attributed to Eastern Iran or present-day Afghanistan, Ink, opaque watercolor, and gold on paper, H. 11 3/4 in. (29.8 cm), Codices, These folios from a dispersed Qur'an exemplify the transition during the Seljuq period from Qur', Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Fragment with peacocks and inscription, 1000-1100s. Iraq, probably Baghdad, Seljuq period. Plain weave: silk warp and cotton weft (mulham); embroidery, couched and split stitches: silk, gilt and silver thread; overall: 31.5 x 40.5 cm (12 3/8 x 15 15/16 in Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragment-with-peacocks-and-inscription-1000-1100s-iraq-probably-baghdad-seljuq-period-plain-weave-silk-warp-and-cotton-weft-mulham-embroidery-couched-and-split-stitches-silk-gilt-and-silver-thread-overall-315-x-405-cm-12-38-x-15-1516-in-image240383268.htmlRMRY2B8M–Fragment with peacocks and inscription, 1000-1100s. Iraq, probably Baghdad, Seljuq period. Plain weave: silk warp and cotton weft (mulham); embroidery, couched and split stitches: silk, gilt and silver thread; overall: 31.5 x 40.5 cm (12 3/8 x 15 15/16 in
Art inspired by Head from a Figure with a Beaded Headdress, 12th–early 13th century, Attributed to Iran, Fossiliferous limestone; carved, drilled, H. 10 in. (25.4 cm), Stone, Although three-dimensional figurative sculptures were made from the beginnings of Islamic art, this head, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-head-from-a-figure-with-a-beaded-headdress-12thearly-13th-century-attributed-to-iran-fossiliferous-limestone-carved-drilled-h-10-in-254-cm-stone-although-three-dimensional-figurative-sculptures-were-made-from-the-beginnings-of-islamic-art-this-head-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image463027475.htmlRF2HW8M7F–Art inspired by Head from a Figure with a Beaded Headdress, 12th–early 13th century, Attributed to Iran, Fossiliferous limestone; carved, drilled, H. 10 in. (25.4 cm), Stone, Although three-dimensional figurative sculptures were made from the beginnings of Islamic art, this head, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Fragment, before 1968. Iran or Iraq, in the style of the Seljuq period (1037–1194). Silk: lampas weave; overall: 49 x 33 cm (19 5/16 x 13 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragment-before-1968-iran-or-iraq-in-the-style-of-the-seljuq-period-10371194-silk-lampas-weave-overall-49-x-33-cm-19-516-x-13-in-image448111382.htmlRM2H116HX–Fragment, before 1968. Iran or Iraq, in the style of the Seljuq period (1037–1194). Silk: lampas weave; overall: 49 x 33 cm (19 5/16 x 13 in.).
Head from a Figure with a Beaded Headdress, Iran, 12th-early 13th century. rare example from the Seljuq period. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/head-from-a-figure-with-a-beaded-headdress-iran-12th-early-13th-century-rare-example-from-the-seljuq-period-image415179847.htmlRM2F3D23K–Head from a Figure with a Beaded Headdress, Iran, 12th-early 13th century. rare example from the Seljuq period.
Head from a Figure with a Beaded Headdress, 12th–early 13th century Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-head-from-a-figure-with-a-beaded-headdress-12thearly-13th-century-162428955.htmlRMKC77P3–Head from a Figure with a Beaded Headdress, 12th–early 13th century
Art inspired by Star-Shaped Tile, 13th–14th century, Made in Iran, probably Kashan, Stonepaste; inglaze painted in blue and turquoise and luster-painted on opaque white glaze, 8 in. (20.3 cm), Ceramics-Tiles, This eight-pointed star tile was once part of a panel of star- and cross-, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-star-shaped-tile-13th14th-century-made-in-iran-probably-kashan-stonepaste-inglaze-painted-in-blue-and-turquoise-and-luster-painted-on-opaque-white-glaze-8-in-203-cm-ceramics-tiles-this-eight-pointed-star-tile-was-once-part-of-a-panel-of-star-and-cross-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462821486.htmlRF2HTY9EP–Art inspired by Star-Shaped Tile, 13th–14th century, Made in Iran, probably Kashan, Stonepaste; inglaze painted in blue and turquoise and luster-painted on opaque white glaze, 8 in. (20.3 cm), Ceramics-Tiles, This eight-pointed star tile was once part of a panel of star- and cross-, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Riding Coat, first half 13th century, Attributed to probably Iran, Silk; weft-faced compound twill (samite), Textile: H. 68 7/8 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-riding-coat-first-half-13th-century-attributed-to-probably-iran-silk-162450260.htmlRMKC86Y0–Riding Coat, first half 13th century, Attributed to probably Iran, Silk; weft-faced compound twill (samite), Textile: H. 68 7/8
Art inspired by Fragment of Wall Painting with a Scene of Two Horsemen Slaying a Serpent, early 20th century, Attributed to Iran, Gypsum plaster; painted, H. 19 1/2 in. (49.5 cm), Stucco, Medieval texts report that wall paintings often decorated building interiors, and some examples, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-fragment-of-wall-painting-with-a-scene-of-two-horsemen-slaying-a-serpent-early-20th-century-attributed-to-iran-gypsum-plaster-painted-h-19-12-in-495-cm-stucco-medieval-texts-report-that-wall-paintings-often-decorated-building-interiors-and-some-examples-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image463027812.htmlRF2HW8MKG–Art inspired by Fragment of Wall Painting with a Scene of Two Horsemen Slaying a Serpent, early 20th century, Attributed to Iran, Gypsum plaster; painted, H. 19 1/2 in. (49.5 cm), Stucco, Medieval texts report that wall paintings often decorated building interiors, and some examples, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Large Turquoise Jar, 12th–13th century, Made in Iran, Earthenware; molded and glazed, H. 31 1/2 in. (80 cm), Ceramics, This Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-large-turquoise-jar-12th13th-century-made-in-iran-earthenware-molded-162573471.htmlRMKCDT3B–Large Turquoise Jar, 12th–13th century, Made in Iran, Earthenware; molded and glazed, H. 31 1/2 in. (80 cm), Ceramics, This
Art inspired by Incense Burner of Amir Saif al-Dunya wa’l-Din ibn Muhammad al-Mawardi, dated A.H. 577/ A.D. 1181–82, Found Iran, Taybad, Bronze; cast, engraved, chased, pierced, OveralL. H. 33 1/2 in. (85.1 cm), Metal, Ja`far ibn Muhammad ibn `Ali, Zoomorphic incense burners were, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-incense-burner-of-amir-saif-al-dunya-wal-din-ibn-muhammad-al-mawardi-dated-ah-577-ad-118182-found-iran-taybad-bronze-cast-engraved-chased-pierced-overall-h-33-12-in-851-cm-metal-ja`far-ibn-muhammad-ibn-`ali-zoomorphic-incense-burners-were-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image463027808.htmlRF2HW8MKC–Art inspired by Incense Burner of Amir Saif al-Dunya wa’l-Din ibn Muhammad al-Mawardi, dated A.H. 577/ A.D. 1181–82, Found Iran, Taybad, Bronze; cast, engraved, chased, pierced, OveralL. H. 33 1/2 in. (85.1 cm), Metal, Ja`far ibn Muhammad ibn `Ali, Zoomorphic incense burners were, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Art inspired by Gilded Mina'i Ceramic, late 12th–early 13th century, Attributed to Iran, Stonepaste; applied decoration, polychrome inglaze and overglaze painted and gilded on opaque monochrome glaze (mina'i), H. 12 1/2 in. (31.8 cm), Ceramics, In one group of ceramics, potters, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/art-inspired-by-gilded-minai-ceramic-late-12thearly-13th-century-attributed-to-iran-stonepaste-applied-decoration-polychrome-inglaze-and-overglaze-painted-and-gilded-on-opaque-monochrome-glaze-minai-h-12-12-in-318-cm-ceramics-in-one-group-of-ceramics-potters-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image463028160.htmlRF2HW8N40–Art inspired by Gilded Mina'i Ceramic, late 12th–early 13th century, Attributed to Iran, Stonepaste; applied decoration, polychrome inglaze and overglaze painted and gilded on opaque monochrome glaze (mina'i), H. 12 1/2 in. (31.8 cm), Ceramics, In one group of ceramics, potters, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Carpet Fragment. Dimensions: Textile: H. 22 in. (55.9 cm) W. 11.5 in. (29.2cm) Mount: H. 27 1/2 in. (69.9 cm) W. 12 1/2 in. (31.8 cm). Date: 14th-15th century. This irregular-shaped fragment is decorated with rows of hook motifs and stylized leaves in dark blue, green, and yellow on a red ground. This design once was repeated on a larger surface to fill the main field of an Anatolian carpet. The geometric aspect of the composition relates this fragment to the earlier period (13th-14th centuries; Seljuq and Beyliq periods) of which only few examples survive. The interlocking hocked motifs, Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/carpet-fragment-dimensions-textile-h-22-in-559-cm-w-115-in-292cm-mount-h-27-12-in-699-cm-w-12-12-in-318-cm-date-14th-15th-century-this-irregular-shaped-fragment-is-decorated-with-rows-of-hook-motifs-and-stylized-leaves-in-dark-blue-green-and-yellow-on-a-red-ground-this-design-once-was-repeated-on-a-larger-surface-to-fill-the-main-field-of-an-anatolian-carpet-the-geometric-aspect-of-the-composition-relates-this-fragment-to-the-earlier-period-13th-14th-centuries-seljuq-and-beyliq-periods-of-which-only-few-examples-survive-the-interlocking-hocked-motifs-image212936572.htmlRMPAC2NG–Carpet Fragment. Dimensions: Textile: H. 22 in. (55.9 cm) W. 11.5 in. (29.2cm) Mount: H. 27 1/2 in. (69.9 cm) W. 12 1/2 in. (31.8 cm). Date: 14th-15th century. This irregular-shaped fragment is decorated with rows of hook motifs and stylized leaves in dark blue, green, and yellow on a red ground. This design once was repeated on a larger surface to fill the main field of an Anatolian carpet. The geometric aspect of the composition relates this fragment to the earlier period (13th-14th centuries; Seljuq and Beyliq periods) of which only few examples survive. The interlocking hocked motifs,
Persian, Kashan,12-13th Century,Seljuq - Seljuk period, Iran, Persia. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/persian-kashan12-13th-centuryseljuq-seljuk-period-iran-persia-image182912982.htmlRMMHGBAE–Persian, Kashan,12-13th Century,Seljuq - Seljuk period, Iran, Persia.
Jug, 1100s-1200s. Iran or Iraq, late Seljuq Period, 11th-13th Century. Earthenware; overall: 15.5 x 11 cm (6 1/8 x 4 5/16 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/jug-1100s-1200s-iran-or-iraq-late-seljuq-period-11th-13th-century-earthenware-overall-155-x-11-cm-6-18-x-4-516-in-image448136158.htmlRM2H12A6P–Jug, 1100s-1200s. Iran or Iraq, late Seljuq Period, 11th-13th Century. Earthenware; overall: 15.5 x 11 cm (6 1/8 x 4 5/16 in.).
Large Turquoise Jar, Iran, 12th-13th century. Motifs typical of the Seljuq period including winged griffins and arabesque design. with inscriptions of good wishes in small kufic script. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/large-turquoise-jar-iran-12th-13th-century-motifs-typical-of-the-seljuq-period-including-winged-griffins-and-arabesque-design-with-inscriptions-of-good-wishes-in-small-kufic-script-image415179096.htmlRM2F3D14T–Large Turquoise Jar, Iran, 12th-13th century. Motifs typical of the Seljuq period including winged griffins and arabesque design. with inscriptions of good wishes in small kufic script.
Star-Shaped Tile, 13th–14th century, Made in Iran, probably Kashan, Stonepaste; inglaze painted in blue and turquoise and luster Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-star-shaped-tile-13th14th-century-made-in-iran-probably-kashan-stonepaste-162573553.htmlRMKCDT69–Star-Shaped Tile, 13th–14th century, Made in Iran, probably Kashan, Stonepaste; inglaze painted in blue and turquoise and luster
Folio from a Qur'an Manuscript, ca. 1180, Attributed to Eastern Iran or present-day Afghanistan, Ink, opaque watercolor Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-folio-from-a-quran-manuscript-ca-1180-attributed-to-eastern-iran-or-162440385.htmlRMKC7PA9–Folio from a Qur'an Manuscript, ca. 1180, Attributed to Eastern Iran or present-day Afghanistan, Ink, opaque watercolor
Iran. Isfahan. Masjed-e Jame (Friday Mosque). The Oljeitu Mihrab, constructed in 1310 by Mongol ruler Oljeitu. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/iran-isfahan-masjed-e-jame-friday-mosque-the-oljeitu-mihrab-constructed-in-1310-by-mongol-ruler-oljeitu-image209580411.htmlRMP4Y5XK–Iran. Isfahan. Masjed-e Jame (Friday Mosque). The Oljeitu Mihrab, constructed in 1310 by Mongol ruler Oljeitu.
Persian, Kashan,12-13th Century,Seljuq - Seljuk period, Iran, Persia. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/persian-kashan12-13th-centuryseljuq-seljuk-period-iran-persia-image182912985.htmlRMMHGBAH–Persian, Kashan,12-13th Century,Seljuq - Seljuk period, Iran, Persia.
Fragment with Griffins in Roundels, before 1982. Iran or Iraq, in the style of the Seljuq period (1037–1194). Silk: lampas weave; overall: 35.5 x 30.5 cm (14 x 12 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragment-with-griffins-in-roundels-before-1982-iran-or-iraq-in-the-style-of-the-seljuq-period-10371194-silk-lampas-weave-overall-355-x-305-cm-14-x-12-in-image448109545.htmlRM2H11489–Fragment with Griffins in Roundels, before 1982. Iran or Iraq, in the style of the Seljuq period (1037–1194). Silk: lampas weave; overall: 35.5 x 30.5 cm (14 x 12 in.).
Incense Burner of Amir Saif al-Dunya wa’l-Din ibn Muhammad al-Mawardi, Iran, dated A.H. 577/ A.D. 1181-82. Zoomorphic incense burners were popular during the Seljuq period Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/incense-burner-of-amir-saif-al-dunya-wax2019l-din-ibn-muhammad-al-mawardi-iran-dated-ah-577-ad-1181-82-zoomorphic-incense-burners-were-popular-during-the-seljuq-period-image415179830.htmlRM2F3D232–Incense Burner of Amir Saif al-Dunya wa’l-Din ibn Muhammad al-Mawardi, Iran, dated A.H. 577/ A.D. 1181-82. Zoomorphic incense burners were popular during the Seljuq period
Folio from a Qur'an Manuscript, ca. 1180, Attributed to Eastern Iran or present-day Afghanistan, Ink, opaque watercolor Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-folio-from-a-quran-manuscript-ca-1180-attributed-to-eastern-iran-or-162440386.htmlRMKC7PAA–Folio from a Qur'an Manuscript, ca. 1180, Attributed to Eastern Iran or present-day Afghanistan, Ink, opaque watercolor
Incense Burner of Amir Saif al-Dunya wa’l-Din ibn Muhammad al-Mawardi, Ja`far ibn Muhammad ibn `Ali, dated A.H. 577 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-incense-burner-of-amir-saif-al-dunya-wal-din-ibn-muhammad-al-mawardi-162356928.htmlRMKC3YWM–Incense Burner of Amir Saif al-Dunya wa’l-Din ibn Muhammad al-Mawardi, Ja`far ibn Muhammad ibn `Ali, dated A.H. 577
Mosaic with Arabic scripture. 1242-1243. From the Madrasa of Sircali, Konya (Turkey). Pergamon Museum. Berlin. Germany. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/mosaic-with-arabic-scripture-1242-1243-from-the-madrasa-of-sircali-konya-turkey-pergamon-museum-berlin-germany-image231205695.htmlRMRC4967–Mosaic with Arabic scripture. 1242-1243. From the Madrasa of Sircali, Konya (Turkey). Pergamon Museum. Berlin. Germany.
Persian, Kashan,12-13th Century,Seljuq - Seljuk period, Iran, Persia. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/persian-kashan12-13th-centuryseljuq-seljuk-period-iran-persia-image182912984.htmlRMMHGBAG–Persian, Kashan,12-13th Century,Seljuq - Seljuk period, Iran, Persia.
Fragment of Wall Painting with a Scene of Two Horsemen Slaying a Serpent, early 20th century Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-fragment-of-wall-painting-with-a-scene-of-two-horsemen-slaying-a-serpent-162536806.htmlRMKCC59X–Fragment of Wall Painting with a Scene of Two Horsemen Slaying a Serpent, early 20th century
Gilded Mina'i Ceramic, late 12th–early 13th century Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/stock-image-gilded-minai-ceramic-late-12thearly-13th-century-162367282.htmlRMKC4D3E–Gilded Mina'i Ceramic, late 12th–early 13th century
Jug, 1170-1220. Iran, Kashan, Seljuq period of Iran (1037–1194). Fritware with luster-painted design; overall: 14.7 x 17 cm (5 13/16 x 6 11/16 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/jug-1170-1220-iran-kashan-seljuq-period-of-iran-10371194-fritware-with-luster-painted-design-overall-147-x-17-cm-5-1316-x-6-1116-in-image448145034.htmlRM2H12NFP–Jug, 1170-1220. Iran, Kashan, Seljuq period of Iran (1037–1194). Fritware with luster-painted design; overall: 14.7 x 17 cm (5 13/16 x 6 11/16 in.).
Quilted cap with star-patterned silk, 1000s. This quilted hat is one of a number of hats that have been recovered from Egyptian graves. It consists of silk sewn to a heavily quilted form, the top part of which is ribbed. The design of the silk is based on an eight-pointed star with paired birds above and stylized palmettes in the interspaces. Such hats were worn with or without a turban by persons of ranks. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/quilted-cap-with-star-patterned-silk-1000s-this-quilted-hat-is-one-of-a-number-of-hats-that-have-been-recovered-from-egyptian-graves-it-consists-of-silk-sewn-to-a-heavily-quilted-form-the-top-part-of-which-is-ribbed-the-design-of-the-silk-is-based-on-an-eight-pointed-star-with-paired-birds-above-and-stylized-palmettes-in-the-interspaces-such-hats-were-worn-with-or-without-a-turban-by-persons-of-ranks-image330114685.htmlRM2A520J5–Quilted cap with star-patterned silk, 1000s. This quilted hat is one of a number of hats that have been recovered from Egyptian graves. It consists of silk sewn to a heavily quilted form, the top part of which is ribbed. The design of the silk is based on an eight-pointed star with paired birds above and stylized palmettes in the interspaces. Such hats were worn with or without a turban by persons of ranks.
Bowl, early 1200s. Iran, Kashan, Seljuq period of Iran (1037–1194). Fritware with luster-painted design; overall: 9.8 x 21.5 cm (3 7/8 x 8 7/16 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/bowl-early-1200s-iran-kashan-seljuq-period-of-iran-10371194-fritware-with-luster-painted-design-overall-98-x-215-cm-3-78-x-8-716-in-image448111015.htmlRM2H1164R–Bowl, early 1200s. Iran, Kashan, Seljuq period of Iran (1037–1194). Fritware with luster-painted design; overall: 9.8 x 21.5 cm (3 7/8 x 8 7/16 in.).
Jug, 1100s-1200s. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/jug-1100s-1200s-image330100025.htmlRM2A519XH–Jug, 1100s-1200s.
Bowl, early 1200s. Iran, Kashan, Seljuq period of Iran (1037–1194). Earthenware with underglaze-painted and incised design; overall: 9.5 x 20.7 cm (3 3/4 x 8 1/8 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/bowl-early-1200s-iran-kashan-seljuq-period-of-iran-10371194-earthenware-with-underglaze-painted-and-incised-design-overall-95-x-207-cm-3-34-x-8-18-in-image448132634.htmlRM2H125MX–Bowl, early 1200s. Iran, Kashan, Seljuq period of Iran (1037–1194). Earthenware with underglaze-painted and incised design; overall: 9.5 x 20.7 cm (3 3/4 x 8 1/8 in.).
Footed Bowl, late 1100s-early 1200s. Iranian potters created transparency by piercing and glazing frit-body walls. Here, triangles and rosettes decorate incised scallops beneath the blue rim. The footed shape is derived from Iranian metal bowls. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/footed-bowl-late-1100s-early-1200s-iranian-potters-created-transparency-by-piercing-and-glazing-frit-body-walls-here-triangles-and-rosettes-decorate-incised-scallops-beneath-the-blue-rim-the-footed-shape-is-derived-from-iranian-metal-bowls-image330090090.htmlRM2A50W7P–Footed Bowl, late 1100s-early 1200s. Iranian potters created transparency by piercing and glazing frit-body walls. Here, triangles and rosettes decorate incised scallops beneath the blue rim. The footed shape is derived from Iranian metal bowls.
Fragment from Funeral Garment or Pall, before 1966. Iran ?, Seljuq period (1037–1194). Silk: compound tabby; overall: 27.6 x 13.6 cm (10 7/8 x 5 3/8 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragment-from-funeral-garment-or-pall-before-1966-iran-seljuq-period-10371194-silk-compound-tabby-overall-276-x-136-cm-10-78-x-5-38-in-image448109999.htmlRM2H114TF–Fragment from Funeral Garment or Pall, before 1966. Iran ?, Seljuq period (1037–1194). Silk: compound tabby; overall: 27.6 x 13.6 cm (10 7/8 x 5 3/8 in.).
Fragment with tripartite band, 1000s - 1100s. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragment-with-tripartite-band-1000s-1100s-image330091199.htmlRM2A50XKB–Fragment with tripartite band, 1000s - 1100s.
Fragments with Griffins in Roundels, before 1966. Iran or Iraq, in the style of the Seljuq period (1037–1194). Silk: lampas weave; overall: 34.2 x 17 cm (13 7/16 x 6 11/16 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragments-with-griffins-in-roundels-before-1966-iran-or-iraq-in-the-style-of-the-seljuq-period-10371194-silk-lampas-weave-overall-342-x-17-cm-13-716-x-6-1116-in-image448111392.htmlRM2H116J8–Fragments with Griffins in Roundels, before 1966. Iran or Iraq, in the style of the Seljuq period (1037–1194). Silk: lampas weave; overall: 34.2 x 17 cm (13 7/16 x 6 11/16 in.).
Embroidered fragment with bird among vines, 1100s. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/embroidered-fragment-with-bird-among-vines-1100s-image330087416.htmlRM2A50NT8–Embroidered fragment with bird among vines, 1100s.
Luster Dish with Seated Prince, 1170–1220. Iran, Kashan, Seljuq period of Iran (1037–1194). Fritware with luster-painted design; overall: 7.5 x 39 cm (2 15/16 x 15 3/8 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/luster-dish-with-seated-prince-11701220-iran-kashan-seljuq-period-of-iran-10371194-fritware-with-luster-painted-design-overall-75-x-39-cm-2-1516-x-15-38-in-image448096634.htmlRM2H10FR6–Luster Dish with Seated Prince, 1170–1220. Iran, Kashan, Seljuq period of Iran (1037–1194). Fritware with luster-painted design; overall: 7.5 x 39 cm (2 15/16 x 15 3/8 in.).
Fragments with Griffins in Roundels, before 1966. Iran or Iraq, in the style of the Seljuq period (1037–1194). Silk: lampas weave; overall: 41 x 32.8 cm (16 1/8 x 12 15/16 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragments-with-griffins-in-roundels-before-1966-iran-or-iraq-in-the-style-of-the-seljuq-period-10371194-silk-lampas-weave-overall-41-x-328-cm-16-18-x-12-1516-in-image448111387.htmlRM2H116J3–Fragments with Griffins in Roundels, before 1966. Iran or Iraq, in the style of the Seljuq period (1037–1194). Silk: lampas weave; overall: 41 x 32.8 cm (16 1/8 x 12 15/16 in.).
Fragment, before 1975. Iran or Iraq, in the style of the Buyid period (945–1055) or Seljuq period (1037–1194). Silk: lampas weave; overall: 38.5 x 67 cm (15 3/16 x 26 3/8 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragment-before-1975-iran-or-iraq-in-the-style-of-the-buyid-period-9451055-or-seljuq-period-10371194-silk-lampas-weave-overall-385-x-67-cm-15-316-x-26-38-in-image448108487.htmlRM2H112XF–Fragment, before 1975. Iran or Iraq, in the style of the Buyid period (945–1055) or Seljuq period (1037–1194). Silk: lampas weave; overall: 38.5 x 67 cm (15 3/16 x 26 3/8 in.).
Quilted cap with star-patterned silk, 1000s. Iran or Iraq, Buyid or Seljuq period. Lampas: silk; overall: 22 x 20 x 20 cm (8 11/16 x 7 7/8 x 7 7/8 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/quilted-cap-with-star-patterned-silk-1000s-iran-or-iraq-buyid-or-seljuq-period-lampas-silk-overall-22-x-20-x-20-cm-8-1116-x-7-78-x-7-78-in-image448109556.htmlRM2H1148M–Quilted cap with star-patterned silk, 1000s. Iran or Iraq, Buyid or Seljuq period. Lampas: silk; overall: 22 x 20 x 20 cm (8 11/16 x 7 7/8 x 7 7/8 in.).
Fragment with Inscription, before 1986. Iran, in the style of the Buyid period (945–1055) or Seljuq period (1037–1194). Silk: compound weave; overall: 45.8 x 69.8 cm (18 1/16 x 27 1/2 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragment-with-inscription-before-1986-iran-in-the-style-of-the-buyid-period-9451055-or-seljuq-period-10371194-silk-compound-weave-overall-458-x-698-cm-18-116-x-27-12-in-image448124782.htmlRM2H11RME–Fragment with Inscription, before 1986. Iran, in the style of the Buyid period (945–1055) or Seljuq period (1037–1194). Silk: compound weave; overall: 45.8 x 69.8 cm (18 1/16 x 27 1/2 in.).
Bird-shaped Vessel, 1100s. Iran, Seljuq period (1037–1194). Bronze, cast, with chased and chiseled decoration; eyes inlaid with blue glass; overall: 17.5 x 9.5 cm (6 7/8 x 3 3/4 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/bird-shaped-vessel-1100s-iran-seljuq-period-10371194-bronze-cast-with-chased-and-chiseled-decoration-eyes-inlaid-with-blue-glass-overall-175-x-95-cm-6-78-x-3-34-in-image448098409.htmlRM2H10J2H–Bird-shaped Vessel, 1100s. Iran, Seljuq period (1037–1194). Bronze, cast, with chased and chiseled decoration; eyes inlaid with blue glass; overall: 17.5 x 9.5 cm (6 7/8 x 3 3/4 in.).
Mina'i Beaker with Seated Princes, 1180–1220. Iran, Kashan, Seljuq period of Iran (1037–1194). Fritware with overglaze design, mina’i ware; overall: 13.3 x 12.3 cm (5 1/4 x 4 13/16 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/minai-beaker-with-seated-princes-11801220-iran-kashan-seljuq-period-of-iran-10371194-fritware-with-overglaze-design-minai-ware-overall-133-x-123-cm-5-14-x-4-1316-in-image448096230.htmlRM2H10F8P–Mina'i Beaker with Seated Princes, 1180–1220. Iran, Kashan, Seljuq period of Iran (1037–1194). Fritware with overglaze design, mina’i ware; overall: 13.3 x 12.3 cm (5 1/4 x 4 13/16 in.).
Fragment with tripartite band, 1000s - 1100s. Iran or Iraq, Seljuq period. Plain weave: silk warp and cotton weft (mulham); gold leaf and ink; overall: 18.4 x 30.2 cm (7 1/4 x 11 7/8 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragment-with-tripartite-band-1000s-1100s-iran-or-iraq-seljuq-period-plain-weave-silk-warp-and-cotton-weft-mulham-gold-leaf-and-ink-overall-184-x-302-cm-7-14-x-11-78-in-image448133229.htmlRM2H126E5–Fragment with tripartite band, 1000s - 1100s. Iran or Iraq, Seljuq period. Plain weave: silk warp and cotton weft (mulham); gold leaf and ink; overall: 18.4 x 30.2 cm (7 1/4 x 11 7/8 in.).
Mortar, 1100s-1200s. Iran, Seljuq Period, 12th-13th Century. Cast bronze with incised decoration; diameter: 23 cm (9 1/16 in.); overall: 16.2 cm (6 3/8 in.); diameter of rim: 16.5 cm (6 1/2 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/mortar-1100s-1200s-iran-seljuq-period-12th-13th-century-cast-bronze-with-incised-decoration-diameter-23-cm-9-116-in-overall-162-cm-6-38-in-diameter-of-rim-165-cm-6-12-in-image448133333.htmlRM2H126HW–Mortar, 1100s-1200s. Iran, Seljuq Period, 12th-13th Century. Cast bronze with incised decoration; diameter: 23 cm (9 1/16 in.); overall: 16.2 cm (6 3/8 in.); diameter of rim: 16.5 cm (6 1/2 in.).
Embroidered fragment with bird among vines, 1100s. Iraq, Baghdad, Seljuq period. Plain weave: silk warp and cotton weft (mulham); embroidery, couched and split stitches: silk and metallic thread; overall: 7.3 x 21.6 cm (2 7/8 x 8 1/2 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/embroidered-fragment-with-bird-among-vines-1100s-iraq-baghdad-seljuq-period-plain-weave-silk-warp-and-cotton-weft-mulham-embroidery-couched-and-split-stitches-silk-and-metallic-thread-overall-73-x-216-cm-2-78-x-8-12-in-image448070329.htmlRM2H0YA7N–Embroidered fragment with bird among vines, 1100s. Iraq, Baghdad, Seljuq period. Plain weave: silk warp and cotton weft (mulham); embroidery, couched and split stitches: silk and metallic thread; overall: 7.3 x 21.6 cm (2 7/8 x 8 1/2 in.).
Fragment with peacocks and inscription, 1000-1100s. Iraq, probably Baghdad, Seljuq period. Plain weave: silk warp and cotton weft (mulham); embroidery, couched and split stitches: silk, gilt and silver thread; overall: 31.5 x 40.5 cm (12 3/8 x 15 15/16 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragment-with-peacocks-and-inscription-1000-1100s-iraq-probably-baghdad-seljuq-period-plain-weave-silk-warp-and-cotton-weft-mulham-embroidery-couched-and-split-stitches-silk-gilt-and-silver-thread-overall-315-x-405-cm-12-38-x-15-1516-in-image448109691.htmlRM2H114DF–Fragment with peacocks and inscription, 1000-1100s. Iraq, probably Baghdad, Seljuq period. Plain weave: silk warp and cotton weft (mulham); embroidery, couched and split stitches: silk, gilt and silver thread; overall: 31.5 x 40.5 cm (12 3/8 x 15 15/16 in.).
Jug with Running Animals, 1150-1220. Iran, probably Kashan, Seljuq period of Iran (1037–1194). Fritware with design in carved and underglaze-painted slip ('silhouette' ware); overall: 13 x 14 cm (5 1/8 x 5 1/2 in.); diameter of rim: 8.9 cm (3 1/2 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/jug-with-running-animals-1150-1220-iran-probably-kashan-seljuq-period-of-iran-10371194-fritware-with-design-in-carved-and-underglaze-painted-slip-silhouette-ware-overall-13-x-14-cm-5-18-x-5-12-in-diameter-of-rim-89-cm-3-12-in-image448108063.htmlRM2H112BB–Jug with Running Animals, 1150-1220. Iran, probably Kashan, Seljuq period of Iran (1037–1194). Fritware with design in carved and underglaze-painted slip ('silhouette' ware); overall: 13 x 14 cm (5 1/8 x 5 1/2 in.); diameter of rim: 8.9 cm (3 1/2 in.).
Incense Burner 12th century Incense was widely used in the medieval Islamic world. At receptions and special events, servants would waft the guests with the aromatic smoke emanating from the openwork of the incense burner and sprinkle them with drops of scented water. This bird‑shaped incense burner represents a class of metalwork that would have been sold at market. Birds figure prominently in the decorative repertoire of the Seljuq period, and were probably associated with good fortune.. Incense Burner 452378 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/incense-burner-12th-century-incense-was-widely-used-in-the-medieval-islamic-world-at-receptions-and-special-events-servants-would-waft-the-guests-with-the-aromatic-smoke-emanating-from-the-openwork-of-the-incense-burner-and-sprinkle-them-with-drops-of-scented-water-this-birdshaped-incense-burner-represents-a-class-of-metalwork-that-would-have-been-sold-at-market-birds-figure-prominently-in-the-decorative-repertoire-of-the-seljuq-period-and-were-probably-associated-with-good-fortune-incense-burner-452378-image458125107.htmlRM2HH9B6Y–Incense Burner 12th century Incense was widely used in the medieval Islamic world. At receptions and special events, servants would waft the guests with the aromatic smoke emanating from the openwork of the incense burner and sprinkle them with drops of scented water. This bird‑shaped incense burner represents a class of metalwork that would have been sold at market. Birds figure prominently in the decorative repertoire of the Seljuq period, and were probably associated with good fortune.. Incense Burner 452378
Textile Fragment with Double-Headed Eagles and Facing Lions 13th century The design on this fragmentary textile consists of two rows of roundels: the upper roundels contain double-headed eagles, and the lower ones, confronted lions. The roundels are situated against a dense vegetal background. The luxurious medium, together with the combination of these two creatures, would have carried regal significance in the Seljuq period and beyond.. Textile Fragment with Double-Headed Eagles and Facing Lions 457970 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/textile-fragment-with-double-headed-eagles-and-facing-lions-13th-century-the-design-on-this-fragmentary-textile-consists-of-two-rows-of-roundels-the-upper-roundels-contain-double-headed-eagles-and-the-lower-ones-confronted-lions-the-roundels-are-situated-against-a-dense-vegetal-background-the-luxurious-medium-together-with-the-combination-of-these-two-creatures-would-have-carried-regal-significance-in-the-seljuq-period-and-beyond-textile-fragment-with-double-headed-eagles-and-facing-lions-457970-image458534814.htmlRM2HJ01RA–Textile Fragment with Double-Headed Eagles and Facing Lions 13th century The design on this fragmentary textile consists of two rows of roundels: the upper roundels contain double-headed eagles, and the lower ones, confronted lions. The roundels are situated against a dense vegetal background. The luxurious medium, together with the combination of these two creatures, would have carried regal significance in the Seljuq period and beyond.. Textile Fragment with Double-Headed Eagles and Facing Lions 457970
Riding Coat first half 13th century In addition to gold jewelry, affluent people during the Seljuq period and slightly later wore sumptuous silk robes. This coat is identified as a riding coat because of its cut, featuring a flare at the hip. The closing of the robe on the right may reflect a conscious choice by a Persian not to emulate the Turkish style of fastening on the left. The bird, lion, and vegetal motifs all would have had positive symbolic connotations.. Riding Coat 456931 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/riding-coat-first-half-13th-century-in-addition-to-gold-jewelry-affluent-people-during-the-seljuq-period-and-slightly-later-wore-sumptuous-silk-robes-this-coat-is-identified-as-a-riding-coat-because-of-its-cut-featuring-a-flare-at-the-hip-the-closing-of-the-robe-on-the-right-may-reflect-a-conscious-choice-by-a-persian-not-to-emulate-the-turkish-style-of-fastening-on-the-left-the-bird-lion-and-vegetal-motifs-all-would-have-had-positive-symbolic-connotations-riding-coat-456931-image458185169.htmlRM2HHC3T1–Riding Coat first half 13th century In addition to gold jewelry, affluent people during the Seljuq period and slightly later wore sumptuous silk robes. This coat is identified as a riding coat because of its cut, featuring a flare at the hip. The closing of the robe on the right may reflect a conscious choice by a Persian not to emulate the Turkish style of fastening on the left. The bird, lion, and vegetal motifs all would have had positive symbolic connotations.. Riding Coat 456931
Bird-Shaped Incence Burner 12th–13th century Incense was widely used in the medieval Islamic world. At receptions and special events servants would waft the guests with the aromatic smoke emanating from the openwork of the incense burner and sprinkle them with drops of scented water. This bird-shaped incense burner represents a class of metalwork that would have been sold at market. Birds figure prominently in the decorative repertoire of the Seljuq period, and were probably associated with good fortune.. Bird-Shaped Incence Burner 456304 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/bird-shaped-incence-burner-12th13th-century-incense-was-widely-used-in-the-medieval-islamic-world-at-receptions-and-special-events-servants-would-waft-the-guests-with-the-aromatic-smoke-emanating-from-the-openwork-of-the-incense-burner-and-sprinkle-them-with-drops-of-scented-water-this-bird-shaped-incense-burner-represents-a-class-of-metalwork-that-would-have-been-sold-at-market-birds-figure-prominently-in-the-decorative-repertoire-of-the-seljuq-period-and-were-probably-associated-with-good-fortune-bird-shaped-incence-burner-456304-image458105891.htmlRM2HH8EMK–Bird-Shaped Incence Burner 12th–13th century Incense was widely used in the medieval Islamic world. At receptions and special events servants would waft the guests with the aromatic smoke emanating from the openwork of the incense burner and sprinkle them with drops of scented water. This bird-shaped incense burner represents a class of metalwork that would have been sold at market. Birds figure prominently in the decorative repertoire of the Seljuq period, and were probably associated with good fortune.. Bird-Shaped Incence Burner 456304
Footed Bowl, late 1100s-early 1200s. Iran, probably Kashan, Seljuq period, late 12-early 13th century. Fritware, pierced and underglaze painting; overall: 9.8 x 18.2 cm (3 7/8 x 7 3/16 in.). Iranian potters created transparency by piercing and glazing frit-body walls. Here, triangles and rosettes decorate incised scallops beneath the blue rim. The footed shape is derived from Iranian metal bowls. Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/footed-bowl-late-1100s-early-1200s-iran-probably-kashan-seljuq-period-late-12-early-13th-century-fritware-pierced-and-underglaze-painting-overall-98-x-182-cm-3-78-x-7-316-in-iranian-potters-created-transparency-by-piercing-and-glazing-frit-body-walls-here-triangles-and-rosettes-decorate-incised-scallops-beneath-the-blue-rim-the-footed-shape-is-derived-from-iranian-metal-bowls-image448072626.htmlRM2H0YD5P–Footed Bowl, late 1100s-early 1200s. Iran, probably Kashan, Seljuq period, late 12-early 13th century. Fritware, pierced and underglaze painting; overall: 9.8 x 18.2 cm (3 7/8 x 7 3/16 in.). Iranian potters created transparency by piercing and glazing frit-body walls. Here, triangles and rosettes decorate incised scallops beneath the blue rim. The footed shape is derived from Iranian metal bowls.
Feline Incense Burner, 1150–1200. Iran, Khurasan, Seljuq period of Iran (1037–1194). Copper alloy, cast, engraved, chased, and pierced; overall: 35.5 x 11 x 32.5 cm (14 x 4 5/16 x 12 13/16 in.); head: 17.8 x 9.5 x 12.5 cm (7 x 3 3/4 x 4 15/16 in.). Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/feline-incense-burner-11501200-iran-khurasan-seljuq-period-of-iran-10371194-copper-alloy-cast-engraved-chased-and-pierced-overall-355-x-11-x-325-cm-14-x-4-516-x-12-1316-in-head-178-x-95-x-125-cm-7-x-3-34-x-4-1516-in-image448097141.htmlRM2H10GD9–Feline Incense Burner, 1150–1200. Iran, Khurasan, Seljuq period of Iran (1037–1194). Copper alloy, cast, engraved, chased, and pierced; overall: 35.5 x 11 x 32.5 cm (14 x 4 5/16 x 12 13/16 in.); head: 17.8 x 9.5 x 12.5 cm (7 x 3 3/4 x 4 15/16 in.).
Rooster-Headed Ewer 13th century This ewer belongs to a group decorated with bold cobalt blue stripes associated with Kashan. Although the pigment has a tendency to run, the potter controlled it masterfully, widening and tapering the stripe to accentuate the ewer’s form. Rooster?headed ewers had a long tradition in Islamic art and were especially popular in the Seljuq period.. Rooster-Headed Ewer. 13th century. Stonepaste; molded and applied decoration, underglaze painted under transparent glaze. Made in Iran, Kashan. Ceramics Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/rooster-headed-ewer-13th-century-this-ewer-belongs-to-a-group-decorated-with-bold-cobalt-blue-stripes-associated-with-kashan-although-the-pigment-has-a-tendency-to-run-the-potter-controlled-it-masterfully-widening-and-tapering-the-stripe-to-accentuate-the-ewers-form-roosterheaded-ewers-had-a-long-tradition-in-islamic-art-and-were-especially-popular-in-the-seljuq-period-rooster-headed-ewer-13th-century-stonepaste-molded-and-applied-decoration-underglaze-painted-under-transparent-glaze-made-in-iran-kashan-ceramics-image458291307.htmlRM2HHGY6K–Rooster-Headed Ewer 13th century This ewer belongs to a group decorated with bold cobalt blue stripes associated with Kashan. Although the pigment has a tendency to run, the potter controlled it masterfully, widening and tapering the stripe to accentuate the ewer’s form. Rooster?headed ewers had a long tradition in Islamic art and were especially popular in the Seljuq period.. Rooster-Headed Ewer. 13th century. Stonepaste; molded and applied decoration, underglaze painted under transparent glaze. Made in Iran, Kashan. Ceramics
Incense Burner 12th century Incense was widely used in the medieval Islamic world. At receptions and special events, servants would waft the guests with the aromatic smoke emanating from the openwork of the incense burner and sprinkle them with drops of scented water. This bird‑shaped incense burner represents a class of metalwork that would have been sold at market. Birds figure prominently in the decorative repertoire of the Seljuq period, and were probably associated with good fortune.. Incense Burner. 12th century. Brass; cast, pierced, chased. Attributed to Iran. Metal Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/incense-burner-12th-century-incense-was-widely-used-in-the-medieval-islamic-world-at-receptions-and-special-events-servants-would-waft-the-guests-with-the-aromatic-smoke-emanating-from-the-openwork-of-the-incense-burner-and-sprinkle-them-with-drops-of-scented-water-this-birdshaped-incense-burner-represents-a-class-of-metalwork-that-would-have-been-sold-at-market-birds-figure-prominently-in-the-decorative-repertoire-of-the-seljuq-period-and-were-probably-associated-with-good-fortune-incense-burner-12th-century-brass-cast-pierced-chased-attributed-to-iran-metal-image457989361.htmlRM2HH362W–Incense Burner 12th century Incense was widely used in the medieval Islamic world. At receptions and special events, servants would waft the guests with the aromatic smoke emanating from the openwork of the incense burner and sprinkle them with drops of scented water. This bird‑shaped incense burner represents a class of metalwork that would have been sold at market. Birds figure prominently in the decorative repertoire of the Seljuq period, and were probably associated with good fortune.. Incense Burner. 12th century. Brass; cast, pierced, chased. Attributed to Iran. Metal
Gilded Mina'i Ceramic late 12th–early 13th century In one group of ceramics, potters combined the technique of mina'i painting with decoration in low relief, which is further highlighted by gilding, to create an even more sumptuous effect. The imagery on this bottle conveys the princely themes so characteristic of the Seljuq period: enthroned rulers, seated sphinxes, and entertainers, against raised and gilded patterns of foliate and zigzag designs. A band with a Persian inscription, also raised and gilded, divides the shoulder from the body.. Gilded Mina'i Ceramic 451434 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/gilded-minai-ceramic-late-12thearly-13th-century-in-one-group-of-ceramics-potters-combined-the-technique-of-minai-painting-with-decoration-in-low-relief-which-is-further-highlighted-by-gilding-to-create-an-even-more-sumptuous-effect-the-imagery-on-this-bottle-conveys-the-princely-themes-so-characteristic-of-the-seljuq-period-enthroned-rulers-seated-sphinxes-and-entertainers-against-raised-and-gilded-patterns-of-foliate-and-zigzag-designs-a-band-with-a-persian-inscription-also-raised-and-gilded-divides-the-shoulder-from-the-body-gilded-minai-ceramic-451434-image458297732.htmlRM2HHH7C4–Gilded Mina'i Ceramic late 12th–early 13th century In one group of ceramics, potters combined the technique of mina'i painting with decoration in low relief, which is further highlighted by gilding, to create an even more sumptuous effect. The imagery on this bottle conveys the princely themes so characteristic of the Seljuq period: enthroned rulers, seated sphinxes, and entertainers, against raised and gilded patterns of foliate and zigzag designs. A band with a Persian inscription, also raised and gilded, divides the shoulder from the body.. Gilded Mina'i Ceramic 451434
Head from a Figure with a Beaded Headdress 12th–early 13th century Although three-dimensional figurative sculptures were made from the beginnings of Islamic art, this head, perhaps part of a full-sized figure, represents a rare example of such sculpture from the Seljuq period. Carved in stone, this head features an enigmatic smile that sets it apart from the average figural production of this period, much of which was made of stucco and with a more standardized and solemn expression. The maker of this object was clearly highly skilled, as evidenced by the naturalistic depiction of its Central Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/head-from-a-figure-with-a-beaded-headdress-12thearly-13th-century-although-three-dimensional-figurative-sculptures-were-made-from-the-beginnings-of-islamic-art-this-head-perhaps-part-of-a-full-sized-figure-represents-a-rare-example-of-such-sculpture-from-the-seljuq-period-carved-in-stone-this-head-features-an-enigmatic-smile-that-sets-it-apart-from-the-average-figural-production-of-this-period-much-of-which-was-made-of-stucco-and-with-a-more-standardized-and-solemn-expression-the-maker-of-this-object-was-clearly-highly-skilled-as-evidenced-by-the-naturalistic-depiction-of-its-central-image458618406.htmlRM2HJ3TCP–Head from a Figure with a Beaded Headdress 12th–early 13th century Although three-dimensional figurative sculptures were made from the beginnings of Islamic art, this head, perhaps part of a full-sized figure, represents a rare example of such sculpture from the Seljuq period. Carved in stone, this head features an enigmatic smile that sets it apart from the average figural production of this period, much of which was made of stucco and with a more standardized and solemn expression. The maker of this object was clearly highly skilled, as evidenced by the naturalistic depiction of its Central
Incense Burner of Amir Saif al-Dunya wa’l-Din ibn Muhammad al-Mawardi dated A.H. 577/ A.D. 1181–82 Ja`far ibn Muhammad ibn `Ali Zoomorphic incense burners were popular during the Seljuq period. This lion-shaped example is exceptional for its monumental scale, the refinement of its engraved ornament, and the wealth of information provided by the Arabic calligraphic bands inscribed on its body. These include the names of the patron and the artist, as well as the date of manufacture. The head is removable so that coal and incense could be placed inside, and the body and neck are pierced so that t Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/incense-burner-of-amir-saif-al-dunya-wal-din-ibn-muhammad-al-mawardi-dated-ah-577-ad-118182-ja`far-ibn-muhammad-ibn-`ali-zoomorphic-incense-burners-were-popular-during-the-seljuq-period-this-lion-shaped-example-is-exceptional-for-its-monumental-scale-the-refinement-of-its-engraved-ornament-and-the-wealth-of-information-provided-by-the-arabic-calligraphic-bands-inscribed-on-its-body-these-include-the-names-of-the-patron-and-the-artist-as-well-as-the-date-of-manufacture-the-head-is-removable-so-that-coal-and-incense-could-be-placed-inside-and-the-body-and-neck-are-pierced-so-that-t-image458544951.htmlRM2HJ0ENB–Incense Burner of Amir Saif al-Dunya wa’l-Din ibn Muhammad al-Mawardi dated A.H. 577/ A.D. 1181–82 Ja`far ibn Muhammad ibn `Ali Zoomorphic incense burners were popular during the Seljuq period. This lion-shaped example is exceptional for its monumental scale, the refinement of its engraved ornament, and the wealth of information provided by the Arabic calligraphic bands inscribed on its body. These include the names of the patron and the artist, as well as the date of manufacture. The head is removable so that coal and incense could be placed inside, and the body and neck are pierced so that t
Star-Shaped Tile 13th–14th century This eight-pointed star tile was once part of a panel of star- and cross-shaped tiles adorning the walls of an Ilkhanid building. Likely produced in the ceramic center of Kashan, it depicts the waq-waq design of a plant whose tendrils develop into the heads of animals, a feature which came into Iran during the Seljuq period. The Persian text running along the border of the tile is an excerpt from the Shahnama in which Rustam, one of the tale’s great heroes, is engaged in battle.. Star-Shaped Tile 450427 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/star-shaped-tile-13th14th-century-this-eight-pointed-star-tile-was-once-part-of-a-panel-of-star-and-cross-shaped-tiles-adorning-the-walls-of-an-ilkhanid-building-likely-produced-in-the-ceramic-center-of-kashan-it-depicts-the-waq-waq-design-of-a-plant-whose-tendrils-develop-into-the-heads-of-animals-a-feature-which-came-into-iran-during-the-seljuq-period-the-persian-text-running-along-the-border-of-the-tile-is-an-excerpt-from-the-shahnama-in-which-rustam-one-of-the-tales-great-heroes-is-engaged-in-battle-star-shaped-tile-450427-image458079506.htmlRM2HH792A–Star-Shaped Tile 13th–14th century This eight-pointed star tile was once part of a panel of star- and cross-shaped tiles adorning the walls of an Ilkhanid building. Likely produced in the ceramic center of Kashan, it depicts the waq-waq design of a plant whose tendrils develop into the heads of animals, a feature which came into Iran during the Seljuq period. The Persian text running along the border of the tile is an excerpt from the Shahnama in which Rustam, one of the tale’s great heroes, is engaged in battle.. Star-Shaped Tile 450427
Folio from a Qur'an Manuscript ca. 1180 This folio from a dispersed Qur'an exemplifies the transition during the Seljuq period from Qur'ans written in kufic script on parchment to those copied in the more rounded new-style writing on paper. By the late twelfth century, the practitioners of the new style had perfected its mannered, slightly eccentric forms. As seen here, these include the extreme elongation of tall letters and the ellipse formed by combining two of these letters, lam and alif.. Folio from a Qur'an Manuscript 448282 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/folio-from-a-quran-manuscript-ca-1180-this-folio-from-a-dispersed-quran-exemplifies-the-transition-during-the-seljuq-period-from-qurans-written-in-kufic-script-on-parchment-to-those-copied-in-the-more-rounded-new-style-writing-on-paper-by-the-late-twelfth-century-the-practitioners-of-the-new-style-had-perfected-its-mannered-slightly-eccentric-forms-as-seen-here-these-include-the-extreme-elongation-of-tall-letters-and-the-ellipse-formed-by-combining-two-of-these-letters-lam-and-alif-folio-from-a-quran-manuscript-448282-image458071591.htmlRM2HH6XYK–Folio from a Qur'an Manuscript ca. 1180 This folio from a dispersed Qur'an exemplifies the transition during the Seljuq period from Qur'ans written in kufic script on parchment to those copied in the more rounded new-style writing on paper. By the late twelfth century, the practitioners of the new style had perfected its mannered, slightly eccentric forms. As seen here, these include the extreme elongation of tall letters and the ellipse formed by combining two of these letters, lam and alif.. Folio from a Qur'an Manuscript 448282
Tail for a Feline Incense Burner, 1150–1200. Iran, Khurasan, Seljuq period of Iran (1037–1194). Copper alloy, cast, engraved, chased, and pierced; overall: 36 cm (14 3/16 in.). In Iran during the 1000s and 1100s, vessels in the shape of animals gained popularity, especially as incense burners. Felines were favored in Persian art and this piece may represent a caracal, a type of lynx. The head of the creature was cast separately and is removable to fill its body with hot coals and incense. Qur’anic verses on the neck and spine remind worshippers to set work aside, attend prayer, and then dispe Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/tail-for-a-feline-incense-burner-11501200-iran-khurasan-seljuq-period-of-iran-10371194-copper-alloy-cast-engraved-chased-and-pierced-overall-36-cm-14-316-in-in-iran-during-the-1000s-and-1100s-vessels-in-the-shape-of-animals-gained-popularity-especially-as-incense-burners-felines-were-favored-in-persian-art-and-this-piece-may-represent-a-caracal-a-type-of-lynx-the-head-of-the-creature-was-cast-separately-and-is-removable-to-fill-its-body-with-hot-coals-and-incense-quranic-verses-on-the-neck-and-spine-remind-worshippers-to-set-work-aside-attend-prayer-and-then-dispe-image448093582.htmlRM2H10BX6–Tail for a Feline Incense Burner, 1150–1200. Iran, Khurasan, Seljuq period of Iran (1037–1194). Copper alloy, cast, engraved, chased, and pierced; overall: 36 cm (14 3/16 in.). In Iran during the 1000s and 1100s, vessels in the shape of animals gained popularity, especially as incense burners. Felines were favored in Persian art and this piece may represent a caracal, a type of lynx. The head of the creature was cast separately and is removable to fill its body with hot coals and incense. Qur’anic verses on the neck and spine remind worshippers to set work aside, attend prayer, and then dispe
Head for a Feline Incense Burner, 1150–1200. Iran, Khurasan, Seljuq period of Iran (1037–1194). Copper alloy, cast, engraved, chased, and pierced; overall: 36 cm (14 3/16 in.). In Iran during the 1000s and 1100s, vessels in the shape of animals gained popularity, especially as incense burners. Felines were favored in Persian art and this piece may represent a caracal, a type of lynx. The head of the creature was cast separately and is removable to fill its body with hot coals and incense. Qur’anic verses on the neck and spine remind worshippers to set work aside, attend prayer, and then dispe Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/head-for-a-feline-incense-burner-11501200-iran-khurasan-seljuq-period-of-iran-10371194-copper-alloy-cast-engraved-chased-and-pierced-overall-36-cm-14-316-in-in-iran-during-the-1000s-and-1100s-vessels-in-the-shape-of-animals-gained-popularity-especially-as-incense-burners-felines-were-favored-in-persian-art-and-this-piece-may-represent-a-caracal-a-type-of-lynx-the-head-of-the-creature-was-cast-separately-and-is-removable-to-fill-its-body-with-hot-coals-and-incense-quranic-verses-on-the-neck-and-spine-remind-worshippers-to-set-work-aside-attend-prayer-and-then-dispe-image448093586.htmlRM2H10BXA–Head for a Feline Incense Burner, 1150–1200. Iran, Khurasan, Seljuq period of Iran (1037–1194). Copper alloy, cast, engraved, chased, and pierced; overall: 36 cm (14 3/16 in.). In Iran during the 1000s and 1100s, vessels in the shape of animals gained popularity, especially as incense burners. Felines were favored in Persian art and this piece may represent a caracal, a type of lynx. The head of the creature was cast separately and is removable to fill its body with hot coals and incense. Qur’anic verses on the neck and spine remind worshippers to set work aside, attend prayer, and then dispe
Fragments, before 1968. Iran or Iraq, in the style of the Seljuq period (1037–1194). Silk: lampas weave; average: 49 x 33 cm (19 5/16 x 13 in.). Geometric medallions aligned on a diaper ground are enclosed in a grid of large and small lozenges. Medallions contain confronting peacocks flanking a Tree of Life. The double border has an inner frieze of running animals and an outer band of Kufic inscription. The larger diamonds contain four-directional palmette trees and two opposed pairs of rampant animals. The smaller diamonds have pairs of peacocks in each corner framing an octagon, which conta Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragments-before-1968-iran-or-iraq-in-the-style-of-the-seljuq-period-10371194-silk-lampas-weave-average-49-x-33-cm-19-516-x-13-in-geometric-medallions-aligned-on-a-diaper-ground-are-enclosed-in-a-grid-of-large-and-small-lozenges-medallions-contain-confronting-peacocks-flanking-a-tree-of-life-the-double-border-has-an-inner-frieze-of-running-animals-and-an-outer-band-of-kufic-inscription-the-larger-diamonds-contain-four-directional-palmette-trees-and-two-opposed-pairs-of-rampant-animals-the-smaller-diamonds-have-pairs-of-peacocks-in-each-corner-framing-an-octagon-which-conta-image448058859.htmlRM2H0XRJ3–Fragments, before 1968. Iran or Iraq, in the style of the Seljuq period (1037–1194). Silk: lampas weave; average: 49 x 33 cm (19 5/16 x 13 in.). Geometric medallions aligned on a diaper ground are enclosed in a grid of large and small lozenges. Medallions contain confronting peacocks flanking a Tree of Life. The double border has an inner frieze of running animals and an outer band of Kufic inscription. The larger diamonds contain four-directional palmette trees and two opposed pairs of rampant animals. The smaller diamonds have pairs of peacocks in each corner framing an octagon, which conta
Fragments with Griffins in Roundels, before 1966. Iran or Iraq, in the style of the Seljuq period (1037–1194). Lampas weave, silk; average: 41 x 32.8 cm (16 1/8 x 12 15/16 in.). This fragment consists of two almost complete roundels in lower right and fragment of third one at the left, plus parts of other roundels. In the roundels are a pair of confronted, winged griffins either side of a 'palm' tree. Heavy baroque floral motifs fill the spaces between the main motifs and the roundel frame. The palm grows out of a curious foliate device at the bottom. The roundel frame has pearl borders betwe Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/fragments-with-griffins-in-roundels-before-1966-iran-or-iraq-in-the-style-of-the-seljuq-period-10371194-lampas-weave-silk-average-41-x-328-cm-16-18-x-12-1516-in-this-fragment-consists-of-two-almost-complete-roundels-in-lower-right-and-fragment-of-third-one-at-the-left-plus-parts-of-other-roundels-in-the-roundels-are-a-pair-of-confronted-winged-griffins-either-side-of-a-palm-tree-heavy-baroque-floral-motifs-fill-the-spaces-between-the-main-motifs-and-the-roundel-frame-the-palm-grows-out-of-a-curious-foliate-device-at-the-bottom-the-roundel-frame-has-pearl-borders-betwe-image448059268.htmlRM2H0XT4M–Fragments with Griffins in Roundels, before 1966. Iran or Iraq, in the style of the Seljuq period (1037–1194). Lampas weave, silk; average: 41 x 32.8 cm (16 1/8 x 12 15/16 in.). This fragment consists of two almost complete roundels in lower right and fragment of third one at the left, plus parts of other roundels. In the roundels are a pair of confronted, winged griffins either side of a 'palm' tree. Heavy baroque floral motifs fill the spaces between the main motifs and the roundel frame. The palm grows out of a curious foliate device at the bottom. The roundel frame has pearl borders betwe
Feline Incense Burner, 1150–1200. Iran, Khurasan, Seljuq period of Iran (1037–1194). Copper alloy, cast, engraved, chased, and pierced; overall: 35.5 x 11 cm (14 x 4 5/16 in.); head: 17.8 x 9.5 x 12.5 cm (7 x 3 3/4 x 4 15/16 in.). In Iran during the 1000s and 1100s, vessels in the shape of animals gained popularity, especially as incense burners. Felines were favored in Persian art and this piece may represent a caracal, a type of lynx. The head of the creature was cast separately and is removable to fill its body with hot coals and incense. Qur’anic verses on the neck and spine remind worshi Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/feline-incense-burner-11501200-iran-khurasan-seljuq-period-of-iran-10371194-copper-alloy-cast-engraved-chased-and-pierced-overall-355-x-11-cm-14-x-4-516-in-head-178-x-95-x-125-cm-7-x-3-34-x-4-1516-in-in-iran-during-the-1000s-and-1100s-vessels-in-the-shape-of-animals-gained-popularity-especially-as-incense-burners-felines-were-favored-in-persian-art-and-this-piece-may-represent-a-caracal-a-type-of-lynx-the-head-of-the-creature-was-cast-separately-and-is-removable-to-fill-its-body-with-hot-coals-and-incense-quranic-verses-on-the-neck-and-spine-remind-worshi-image448093600.htmlRM2H10BXT–Feline Incense Burner, 1150–1200. Iran, Khurasan, Seljuq period of Iran (1037–1194). Copper alloy, cast, engraved, chased, and pierced; overall: 35.5 x 11 cm (14 x 4 5/16 in.); head: 17.8 x 9.5 x 12.5 cm (7 x 3 3/4 x 4 15/16 in.). In Iran during the 1000s and 1100s, vessels in the shape of animals gained popularity, especially as incense burners. Felines were favored in Persian art and this piece may represent a caracal, a type of lynx. The head of the creature was cast separately and is removable to fill its body with hot coals and incense. Qur’anic verses on the neck and spine remind worshi
Mirror with a Pair of Addorsed Sphinxes with Scorpion Tails 12th–13th century Polished-metal mirrors have existed since ancient times, from Egypt to Greece to China. The medieval Islamic period, specifically during the rise of the Seljuqs and other Turkish dynasties, witnessed the production of a large number of circular cast-bronze mirrors with a fully decorated reverse. Despite a relatively short phase of manufacture (twelfth to the thirteenth century), they enjoyed wide popularity within and beyond the Seljuq realm. The simple technique of sand-cast bronze would have enabled mass production Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/mirror-with-a-pair-of-addorsed-sphinxes-with-scorpion-tails-12th13th-century-polished-metal-mirrors-have-existed-since-ancient-times-from-egypt-to-greece-to-china-the-medieval-islamic-period-specifically-during-the-rise-of-the-seljuqs-and-other-turkish-dynasties-witnessed-the-production-of-a-large-number-of-circular-cast-bronze-mirrors-with-a-fully-decorated-reverse-despite-a-relatively-short-phase-of-manufacture-twelfth-to-the-thirteenth-century-they-enjoyed-wide-popularity-within-and-beyond-the-seljuq-realm-the-simple-technique-of-sand-cast-bronze-would-have-enabled-mass-production-image458414276.htmlRM2HHPG2C–Mirror with a Pair of Addorsed Sphinxes with Scorpion Tails 12th–13th century Polished-metal mirrors have existed since ancient times, from Egypt to Greece to China. The medieval Islamic period, specifically during the rise of the Seljuqs and other Turkish dynasties, witnessed the production of a large number of circular cast-bronze mirrors with a fully decorated reverse. Despite a relatively short phase of manufacture (twelfth to the thirteenth century), they enjoyed wide popularity within and beyond the Seljuq realm. The simple technique of sand-cast bronze would have enabled mass production
Search Results for Seljuq period Stock Photos and Images (102)
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