Published Catalogue Text: In Harmony: The Norma Jean Calderwood Collection of Islamic Art , written 2013
16
Bowl with a cheetah standing on the back of a horse
Iran, Nishapur, Samanid period, 10th century[1]
Buff-colored earthenware painted with black (manganese and iron), yellow (lead-tin), and green (copper) under clear lead glaze
7.4 × 18.6 cm (2 15/16 × 7 5/16 in.)
2002.50.68
Published: Reed 2005, 1.
Figural designs on polychrome ceramics offer tantalizing and often puzzling glimpses into the complex society of the Samanid realm, now divided between northeastern Iran and Uzbekistan.[2] The majority of these wares are made of buff-colored earthenware decorated with lively, and often freely rendered, figural images painted in bright colors under clear glaze. The decoration of this small bowl has been executed with exceptional detail and care. Fluid and confident strokes of black slip delineate a crested bird, a spotted feline, and a well-groomed horse. These forms are filled or dotted with green and yellow. The feline and the horse raise their right forelegs; they both sport ankle bands and scalloped collars. The horse has a cropped mane, a knotted tail, and curling fetlocks. Filling its body is a bold pseudo-inscription in floriated and spiraling Kufic script. The top of its eye is defined by two extended parallel lines; this distinctive treatment is occasionally found in figural wares excavated in Nishapur.[3] The feline may be identified as a cheetah by the black stripe descending from its eye.
The vignette of a collared feline on the back of an imposing horse may be a shorthand reference to the costly, prestigious, and ancient sport of hunting with cheetahs.[4] Capable of short bursts of extraordinary speed, cheetahs were usually set on gazelles, rabbits, and other fleet game, but because stamina was not one of their virtues, they had to be conveyed to the hunt. One of the cheetah trainer’s more demanding tasks was to teach his charge to ride pillion on the back of a horse moving at any speed.
The exterior decoration of this bowl consists of pendant leaf shapes painted in an alternating pattern: a buff leaf with an interior dot-dash- dot device alternates with a colored leaf, sequentially yellow or green. No slip is detectable over the light buff ceramic body. The entire bowl, including the flat, slightly concave base, is covered in a clear glaze. The bowl has been reassembled from at least three large fragments and has minor losses and repairs along the rim.
Mary McWilliams
[1] The bowl was last fired between 800 and 1300 years ago, according to the results of thermoluminescence analysis carried out by Oxford Authentication Ltd. in 2004.
[2] See, in this catalogue, Oya Pancaroğlu’s essay, “Feasts of Nishapur: Cultural Resonances of Tenth-Century Ceramic Production in Khurasan,” 25–35.
[3] See the discussion of this eye profile in Wilkinson 1973, 20–21, 45, cat. 62.
[4] For other interpretations, see Wilkinson 1973, 20–22.
