The Museum's collection of Islamic art ranges in date from the seventh to the nineteenth century. Its nearly twelve thousand objects reflect the great diversity and range of the cultural traditions of Islam, with works from as far westward as Spain and Morocco and as far eastward as Central Asia and India. Comprising sacred and secular objects, the collection reveals the mutual influence of artistic practices such as calligraphy, and the exchange of motifs such as vegetal ornament (the arabesque) and geometric patterning in both realms.
Posted: Wednesday, February 11, 2015
The Department of Islamic Art has over three thousand ceramic objects in its collection, with perhaps the largest corpus of the collection acquired from the Museum's excavations in Nishapur, Iran, during the mid-twentieth century. While the department maintains a fine collection of Safavid and Ottoman ceramics, ceramic work from south Asia is not as well represented. Among these examples of south Asian ceramics, my favorite is an eighteenth-century tile from Multan, in present-day Pakistan (pictured above). In terms of both material and technique, the tile is typical of ceramics from this part of south Asia, as are three similar objects in the collection—an eighteenth-century dish and two late fifteenth-century tiles (2008.461 and 2008.462).
Posted: Friday, February 6, 2015
Last summer I was a high school intern at The Metropolitan Museum of Art. Working at the Met was a dream for me. Each morning I took the train from Brooklyn to the Museum Mile, with my Met ID hanging around my neck, excited about the day ahead. I've been visiting the Met for years with my family and friends, and had always wanted to be a part of it.
Posted: Wednesday, February 4, 2015
The Moroccan Court Music Series, which began in April 2014, saw its last performance of the year on November 21, with a program of Hindustani music. Planned to coincide with the recently closed exhibition Treasures from India: Jewels from the Al-Thani Collection, the evening featured Neel Murgai on sitar and Shivalik Ghoshal on tabla, playing a program of north Indian ragas.
Posted: Wednesday, January 28, 2015
Posted: Wednesday, January 21, 2015
In this painting, the Mughal Emperor Shah Jahan sits with his young son Dara Shikoh, holding a red gem in his right hand and a small tray of colored gems in his left. This intergenerational portrait illustrates the important Indian tradition of transferring gems among family members. Jewels are among the most important possessions in an estate and, when inherited, they are usually remounted or set by the recipient.
Posted: Thursday, January 15, 2015
One of my regular tasks as a research assistant is to enter information about new acquisitions into the collections management database of the Department of Islamic Art. Slower-paced than some of my other responsibilities, it gives me an opportunity to study the works that the department has obtained in the past year. And during the holidays, when our offices were a bit quieter, I had the chance to really take a look at our latest acquisitions.
Posted: Friday, January 2, 2015
Recent visitors to the Met may have noticed more Arabic throughout the building. Magnificent specimens of Arabic calligraphy have always been on display in our galleries, along with examples in Persian and Ottoman Turkish, but the Museum has recently taken on the task of translating educational materials into Modern Standard Arabic (MSA, or al-Lugha al-'Arabiyya al-Fusha in Arabic), a language spoken by hundreds of millions of people worldwide.
Posted: Wednesday, December 17, 2014
In North America, we have a rather superficial relationship with gemstones. You may be aware that your birth month is connected with a gem—your "birthstone"—but what's the point of this connection? For most of us, the only gem we associate with any real symbolic value is a diamond, reserved for nuptial engagements as a symbol of commitment, but even this is a very recent affiliation stemming from a 1947 De Beers ad campaign "A Diamond is Forever."
Posted: Friday, December 12, 2014
Posted: Wednesday, December 3, 2014
As a new curatorial research fellow in the Department of Islamic Art, I am becoming acquainted with many different aspects of museum life such as museum education and exhibition practices, but I spend most of my time researching our rich collection of Islamic art objects. I've recently been examining a large group of wooden panel pieces, many of which were parts of minbars (pulpits) in mosques in Egypt during the Mamluk period (1250–1517)—some of these are on display in gallery 454. In this group, I came across a rectangular panel (shown above) that is inlaid with carved ivory and bears an inscription in Arabic.