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Molded Bottle in the Form of a Mother & Child in the Metropolitan Museum of Art, December 2022
Title: Molded Vessel in the Form of a Mother and Child
Date: 12th–13th century
Geography: Attributed to Iran
Medium: Stonepaste; molded, painted under transparent turquoise glaze
Dimensions: H. 8 1/16 in. (20.5 cm)
W. 5 3/8 in. (13.7 cm)
D. 3 in. (7.6 cm)
Classification: Ceramics
Credit Line: Gift of J. Lionberger Davis, 1965
Accession Number: 65.194.2
This object in the shape of a woman cradling a baby belongs to a large assemblage of ceramic figurines, whose original purpose is enigmatic.
Its lower part was left devoid of the turquoise glaze probably to avoid sticking with other objects stacked in the kiln. One can see there the black pigment painted directly on the body. Despite it unrefined appearance, the painted decoration quite precisely defines the details of the figures, such as the woman’s headdress, braids, and cross-hatched breasts. The marks painted on her cheeks follow a Central Asian iconography and are probably related to apotropaic rituals. They might represent tattoos or scars really practiced by women, as charms or applied as a form of facial adornment.
Text from: www.metmuseum.org/art/collection/search/451809
Date: 12th–13th century
Geography: Attributed to Iran
Medium: Stonepaste; molded, painted under transparent turquoise glaze
Dimensions: H. 8 1/16 in. (20.5 cm)
W. 5 3/8 in. (13.7 cm)
D. 3 in. (7.6 cm)
Classification: Ceramics
Credit Line: Gift of J. Lionberger Davis, 1965
Accession Number: 65.194.2
This object in the shape of a woman cradling a baby belongs to a large assemblage of ceramic figurines, whose original purpose is enigmatic.
Its lower part was left devoid of the turquoise glaze probably to avoid sticking with other objects stacked in the kiln. One can see there the black pigment painted directly on the body. Despite it unrefined appearance, the painted decoration quite precisely defines the details of the figures, such as the woman’s headdress, braids, and cross-hatched breasts. The marks painted on her cheeks follow a Central Asian iconography and are probably related to apotropaic rituals. They might represent tattoos or scars really practiced by women, as charms or applied as a form of facial adornment.
Text from: www.metmuseum.org/art/collection/search/451809
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