High-Tin Bronze Bowl by Abu Nasr al-Naqqash

High-Tin Bronze Bowl 11th century

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carving, metal, ceramic, bronze

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carving

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metal

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ceramic

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bronze

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ceramic

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islamic-art

Dimensions: H. 6 15/16 in. (17.6 cm) W. 15 15/16 in. (40.5 cm)

Copyright: Public Domain

Editor: Here we have an 11th-century High-Tin Bronze Bowl, created by Abu Nasr al-Naqqash. The craftsmanship is incredible. What immediately grabs me is the intricate carving, especially that band of calligraphy around the rim. How do you interpret this work in relation to its historical context? Curator: It’s impossible to look at this bowl outside of the social and political currents of its time. In the 11th century, Islamic art was flourishing, acting as a potent visual language that legitimized power, reflected scientific curiosity, and reinforced religious identity. Do you notice how the Arabic calligraphy isn't just decorative, but carefully placed to convey specific meanings, perhaps verses from the Quran or wishes for prosperity and good fortune for the bowl’s owner? Editor: It's interesting that you bring that up, as its location within the Met museum seems to strip the object of that inherent intention. Does the removal of function then remove meaning? Curator: I would disagree, the intent lives on through the work as a testament to an enduring artistic vision. How does understanding this bowl’s purpose and artistry challenge our modern expectations of function versus art? Is it purely utilitarian? Or can its beauty elevate its everyday use to a spiritual act? Editor: I see your point. The craftsmanship clearly elevates it beyond mere utility. The inscriptions give it a dimension beyond containment. I learned to consider objects like this as intentional carriers of culture and meaning. Curator: Exactly! Objects such as this bowl serve as critical evidence, not just of artistic skill, but also as expressions of cultural identity and philosophical worldview in 11th century Islamic societies. We might also consider the implications of who this artist, al-Naqqash, might have been. His place within the socioeconomic environment and what the making of objects like these says about historical perspectives on craft and the concept of ‘high’ versus ‘low’ art. Editor: Thanks! I will never see a bowl in the same way again!

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