Plate, 10th century (Samanid period, Iran or Afghanistan), earthenware painted under glaze, 46.8 cm diameter (National Museum of Asian Art, Smithsonian Institution, Washington, D.C.)
This may look like a piece of modern art with its minimalist aesthetic and contrasting white and black decoration, but it dates back to the early Islamic period. Decorated ceramics like this plate were produced in great numbers during the 9th to 11th centuries in the Khurasan region of modern Iran and the Central Asian region of Transoxiana (which encompasses modern Uzbekistan and parts of Turkmenistan, Tajikistan, and Kazakhstan). Many such ceramics were made during the reign of the Samanids, a local Islamic dynasty of Persian ancestry that ruled in the region from 819 to 1005 C.E. Some of the most renowned Islamic ceramics were made during this time, and this is considered an exceptional example.
Primary sites where epigraphic Samanid ceramics have been excavated in Khurasan and Transoxiana (underlying map © Google)
Decorating and glazing
The majority of decorated ceramics made during the reign of the Samanids are decorated with slip, a liquified clay that can be used to apply color to the ceramic surface. In this particular case, the plate is covered with white slip and the designs were then added with a dark brown, almost black, slip. Once the slip decoration was completed, the entire plate was covered with a clear glaze. The glaze is essentially a layer of glass that fuses to the ceramic surface during the firing process in the kiln. The glaze layer creates a water-tight seal, protecting the slip decoration and ensuring that no liquid seeps into the clay, which makes the vessel easier to clean and more hygienic to use.
The inscriptions
One of the specialities of Samanid potters was the creation of epigraphic ceramics, meaning the ceramics were embellished with inscriptions, and in this case, Arabic inscriptions. The Freer plate is decorated with two concentric rings of Arabic script and a single black-brown dot at the center; the rest of the plate remains stark white.
Starting points of two encircling inscriptions, Plate, 10th century (Samanid period, Iran or Afghanistan), earthenware painted under glaze, 46.8 cm diameter (National Museum of Asian Art, Smithsonian Institution, Washington, D.C.)
The two encircling rings of script are nearly identical and are oriented outward. They can be read clockwise around the surface of the plate, as Arabic is written from right to left. The larger outer inscription, which starts at the center of the upper edge (marked with a green arrow), translates to: “He who believes in recompense is generous in giving, and to whatever you accustom yourself, you will grow accustomed, blessing to the owner.” The smaller inner inscription also starts at the center along the upper edge (marked with a blue arrow), and reads: “He who believes in recompense is generous in giving, and to whatever you accustom yourself, [you will grow accustomed].” This last part of the phrase is actually not included in the inner inscription, but since the inner inscription is nearly the same as the outer, we can infer what the intended full phrase was meant to say.
The inscriptions adorning the plate come from a large repertoire of aphorisms, or sayings, that were frequently applied to ceramics in the region. Many such aphorisms relate to moral conduct, the virtues of generosity, and the value of knowledge and learning, amongst others. These sayings may have been widely used and familiar to people at the time, distilling wisdom or general truths into memorable phrases. A few examples from other contemporary ceramic dishes include “the most honorable of riches is the abandonment of desire,” “he who talks too much is quick to falter,” and “knowledge is an ornament for youth and intelligence is a crown of gold in paradise.” We still repeat aphorisms today, although modern aphorisms are a little different than those used in the early Islamic period. Ones that you may have heard include “the early bird catches the worm,” “a picture is worth a thousand words,” “absence makes the heart grow fonder,” “actions speak louder than words,” “waste not, want not,” and many more.
Unusual and beautiful
Thousands of slip-painted ceramics have been unearthed in Khurasan and Transoxiana (most from the sites of Nishapur and Samarqand), but vessels decorated with multiple encircling rings of script are uncommon. Even more unusual is the repetition of the same inscription on a single plate. It is not entirely evident why the craftsman chose to repeat the same inscription in this case. It may also seem odd that the inner inscription is incomplete. It is possible that the craftsman simply ran out of space and couldn’t fit the last few words. It is also likely that people viewing the plate would have known the intended message even if it wasn’t complete, and therefore the precise repetition of the inscription wasn’t necessary. For example, if I wrote “the early bird catches the…,” those familiar with the phrase would automatically know that I was referring to the early bird catching a worm.
Furthermore, ceramic inscriptions were very likely coveted for their aesthetic qualities in addition to their message. It appears it was more important for the inscription to stylishly adorn the contours of the plate and to create a balanced composition across the surface than to be accurately repeated. The inclusion of “blessing to the owner” at the end of the outer inscription was probably added because the craftsman had extra space to fill and didn’t want to leave a gap. Inscriptions bestowing blessings on the person who owned or used an item are very common on all types of objects in the Islamic world, and this would have been a standard phrase to add. In fact, many inscribed slip-painted ceramics incorporate “blessing to the owner,” or simply “blessing,” to fill extra space after an aphorism.
Decorations of the script (detail), Plate, 10th century (Samanid period, Iran or Afghanistan), earthenware painted under glaze, 46.8 cm diameter (National Museum of Asian Art, Smithsonian Institution, Washington, D.C.)
The inscriptions are written in Kufic script, an early style of Arabic letter forms characterized by angular shapes with precise vertical and horizontal lines. Even though the two inscriptions are the primary embellishment—and are in fact the only decoration besides the central dot—they are highly decorative in-and-of-themselves. The letters curve meticulously around the contour of the rim and surface of the circular plate. Some of the Arabic letters are stretched horizontally to fill the space, creating a balanced composition between vertical and horizontal letters. Looking closely, we see slender lines extending from the ends of letters (marked with red arrows) and some letters end in leafy flourishes (marked with an orange arrow). There are also pairs of thin lines etched through the black-brown slip of the inscription (marked with a yellow arrow). The decorations of the script may be minimal, but they add a sophisticated and restrained elegance to the inscriptions and to the plate.
Function
We usually see objects like this on display in museums, where they are presented in rather sterile environments alongside other works of fine art. Even though the plate is undoubtedly eye-catching, it was first and foremost a functional object meant to be used. Plates like this one, as well as similarly decorated bowls and pitchers, were used for dining. Epigraphic vessels like the Freer plate could have been used as conversation pieces, quite literally, at a social meal or gathering. [1] When the plate was full of food at the start of a meal, the inscription would be hidden, only becoming visible and legible as food was consumed. We might think of these as interactive objects: the more you and your guests ate, the more you could see and read the inscription. In order to read the inscription in its entirety, you would also need to read around the plate or turn it in your hands. The plate forces the diner or viewer to engage with it.
Location of repairs (detail), Plate, 10th century (Samanid period, Iran or Afghanistan), earthenware painted under glaze, 46.8 cm diameter (National Museum of Asian Art, Smithsonian Institution, Washington, D.C.)
Repairs
The plate is also interesting because it was repaired during the early Islamic period. On the upper left edge there are two copper rivets, which have turned blue-green with verdigris over the years (marked with purple arrows). There is another pair of small holes where a third rivet would have been placed. The rivets indicate that the plate was highly valued by its owner, who opted to have the plate fixed so that it could continue to be used. We might ask ourselves, why wouldn’t someone just replace their broken plate?
Vessels like this one were probably purchased and used by the middle level of society. [2] Rulers and upper-class members of early Islamic society probably used more expensive vessels made of metal or glass, while the lower classes relied on less expensive un-decorated pottery. This plate, and other slip-painted ceramics from the region, were likely used by members of society who had some disposable income, but who were likely not wealthy enough to purchase more expensive glass or metal versions. It is also very possible that vessels like the Freer plate were only brought out and used on special occasions, like today when people use a simpler, less expensive set of dishes for everyday use and only use their “fine china” on holidays. If we think of the Freer plate as a luxury item for a middle-class household, it makes sense that they chose to repair the dish rather than throwing it away and buying a new one—waste not, want not!
Plate, 10th century (Samanid period, Iran or Afghanistan), earthenware painted under glaze, 46.8 cm diameter (National Museum of Asian Art, Smithsonian Institution, Washington, D.C.)
The Samanid plate in the National Museum of Asian Art is an exceptional work of early Islamic ceramic art. However, its cultural value goes far beyond its aesthetics. The plate highlights the central role of inscriptions in Islamic art. The written word was a fundamental component of the visual culture of early Islam—a tradition rooted in the significance of the Qur’an as the word of God.
The plate also reveals that Arabic inscriptions were coveted by the middle levels of society, not just the upper class. Moreover, the plate illustrates a vivacity that is often lost to time: the plate forces the viewer to participate with it. Whether in the form of eating more food or moving around to read the inscription, active engagement is required by the beholder to appreciate the decoration in full. A thousand years after its production, this plate, and others like it, continues to grab our attention, revealing a dynamic culture of inscribed objects, dining, and craft production in the early Islamic period. One could even say, a picture (or perhaps a plate) is worth a thousand words.
