Aguamanil con cabeza de gallo

Nº Inventario: CFC10
Descripción: Pasta de frita, moldeada y pintada en negro y azul cobalto bajo vidriado turquesa
Dimensiones: Height: 25.4 cm; width: 14.3 cm; diameter (oval) of mouth: 4.6 cm; diameter of foot ring: 8.2 cm.
Decoración: The molded cock head is indented at the top and striped in black as if to represent a cock’s comb. The beak, which is partly pierced on the left side and indented on the right, and one “cheek” are outlined in black. The protuberance under the beak may represent the cock’s wattle. The lip of the mouth is edged in cobalt, and the neck encircled with a thick black line. Thick vertical lines in black divide the body into five panels. Each panel is decorated in the center with an ovoid medallion enclosing curved and V-shaped lines, and branching into leafy designs at the top and bottom. Above each medallion there is a single black dot and straight line, while below (so just above the foot ring) there is a smaller ovoid medallion with curved designs. No two panels are identical, and the black painted designs are all very sketchy. A black line runs down the
middle of the handle, which is adorned with a small and flat knop or thumb-grip.
Observaciones: The cock (or cockerel)-headed ewer has a very long history in Near Eastern art dating back to the first millennium BCE and with a complex symbolism involving religious and apotropaic beliefs about the sacred power of light. Silver versions created in Iran during the Sasanian period (224-651) were copied in China in porcelain. In the 10th century Chinese porcelain examples reached the Islamic world, and during the 12th and 13th centuries were recreated in stonepaste with different glaze and decorative types. Especially elaborate versions were produced with double, reticulated shells, curved handles resembling a cock or rooster tail, and more detailed decoration. The medieval revival and elaboration of this vessel form coincided with a further development of its iconographic significance under the influence of mystical Sufi ideas23. Some of the known vessels of this type have beaks that are fully slit (i.e., open), allowing their liquid contents to ooze or pour out.
Since the beak of the RABASF ewer is only partly pierced, it could not have functioned as a spout, and the ewer’s contents could only have been emptied from the mouth at the top.
Estado: Some areas of crazing, iridescence and re-touching
Obras relacionadas:
Bahrami 1949, pl. XCI (Raymond Ades Family Collection, on loan to Fitzwilliam Museum, Cambridge, U.K.: overglaze painted in luster).
Bowie 1970, cat. no. 181 and repro. p. 71 (Seattle Art Museum).
Folsach 2001, fig. 172 (David Collection, Copenhagen, Isl. 23: molded body, painted in black and blue under a turquoise glaze).
From 2008, p. 66 (Asian Art Museum, Avery Brundage College, San Francisco, B60P1997: molded body, turquoise glaze).
Grube 1976, cat. no. 138 (Keir Collection, London: underglaze painted in black[?]).
Grube 1994, cat. no. 149 (Khalili Collection, London, POT 855: molded body, turquoise glaze).
Idemitsu 1979, color pls. 38 and 39 (Idemitsu Museum of Art, Tokyo: 38-overglaze painted in luster; 39-white glaze, previously published Mikami 1962-64, vol. I: monochrome fig. 90 as Sazo Idemitsu Collection, Tokyo, and Mikami 1978, color pl. 11); monochrome figs. 283 and 310 (Idemitsu Museum of Art, Tokyo: 283-incised designs, white glaze; 310-underglaze painted in luster, blue glaze).
Ishiguro 1986, cat. no. 23 (Ishiguro Collection, Tokyo, E 7.64: underglaze painted in black, turquoise glaze).
Mikami 1962-64, vol. I: color pl. 13 (Setsuya Hashimoto Collection, Tokyo: molded body, overglaze painted in luster); vol. I: monochrome fig. 89 (Sammy Y. Lee Collection, Tokyo: incised design, blue-green glaze); vol. I: monochrome fig. 102 (Itsuo Art Gallery, Osaka: molded body, overglaze painted in luster); vol. II: monochrome fig. 161 (Atami Art Museum, Shizuoka: lajvardina); vol. II: monochrome fig. 168 (Junkichi Mayuyama Collection, Tokyo: underglaze painted in black, blue and green).
Mikami 1966, cat. nos. 43 and 44 (Idemitsu Museum of Art, Tokyo: 43–molded and overglaze painted in luster; 44-cobalt glaze, previously published Mikami 1962-64, vol. I: monochrome fig. 138 as Matsunaga Memorial Museum, Kanagawa)
Mikami 1978, color pl. 11 (Idemitsu Museum of Art, Tokyo: white glaze, previously published Mikami 1966, cat. no. 37).
Oriental Ceramics, vol. 4: monochrome pl. 123 (Iran Bastan Museum, Tehran, no. 4415: white glaze).
Oriental Ceramics, vol. 11: monochrome fig. 256 (Metropolitan Museum of Art, New York, 19.68.2: painted in blue under a transparent glaze).
Pancaro?lu 2007, cat. no. 87 (Plotnick Collection, Chicago: overglaze painted in luster).
Paris 1977, cat. no. 150 (Musée du Louvre, Paris, MAO 248: painted in black under turquoise glaze).
Watson 1985, fig. 31 and pp. 33 and 67 (Victoria and Albert Museum, London, C.160-1928: molded body, overglaze painted in luster).
Watson 2004, cat. no. L.11 (Al-Sabah Collection, Kuwait, LNS 93C: turquoise glaze)
Welch 1972, vol. 2, pp. 138-139 (formerly Sadruddin Aga Khan Collection, now Aga Khan Museum, Toronto, p. 34: overglaze painted in luster).
Yoshida 1972, fig. 60 (Itsuo Art Museum, Ikeda, Osaka Prefecture: overglaze painted in luster).
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