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7000 YEARS OF IRANIAN ART

21. GOLD BOWL. Ca. 1200-1000 B.C.
 7 SI S-o

7000 YEARS OF IRANIAN ART

Circulated by the Smithsonian Institution^

National Gallery of Art, WAsmNGTON, D. C.

Denver Art Museum, Denver, Colorado

William Rockhill Nelson Gallery of Art, Kansas City, Missouri

The Museum of Fine Arts, Houston, Texas

The Cleveland Museum of Art, Cleveland, Ohio

Museum of Fine Arts, Boston, Massachusetts

California Palace of the Legion of Honor, San Francisco, California

Los Angeles County Museum of Art, Los Angeles, California

1964-1965

HUMANITIES INSTITUTE
UBRARY
RITTER BALDWIN-WALLACE CO! rrr
I

BALDWIN-WALLACE COLLEGE gEREA, OHIO 44017 '

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FIVE
 TRANSLATION
The opening of the exhibition, 7000 YEARS OF IRANIAN ART, at the National Gallery
of Art, Washington, D. C, is a source of great pleasure to me.

During the more than one hundred years of Iranian-American relations, many a representa-
tive from Iran has come to the United States, but this exhibition is undoubtedly the best cultur-
al ambassador we have ever sent to our North American friends.

This messenger of culture, I am sure, will be instrumental in establishing spiritual under-

standing between our two nations and in bringing us closer together.

The exhibition is, of course, not the first showing of Iranian art in the United States.
Valuable collections of Iranian art treasures are to be found in most major U. S. museums, and
numerous exhibitions of our art have been held in such cities as Philadelphia in 1926 and 1939,
New York in 1940, 1949, and 1960, and Cincinnati in 1954, as well as the 1960 showings in Wash-
ington and Baltimore.

However, 7000 YEARS OF IRANIAN ART is unique because of the many rare historical
objects that have been loaned by the government of Iran. I am also pleased by the loan of the
Foroughi
*o* Collection.

Our American with Iran's ancient culture and civili-

friends, as they acquaint themselves
zation through this exhibition, will grasp the humanity and universality of Iran's culture, and
will become aware that Iran has always provided a Hnk between the various cultures of the world.

It is my hope that this great exhibition will so further the already existing intellec-
sincere
tual understanding between our two countries that, with common aims, and with unity of purpose

and ideals, we may build a world in which the highest of man's spiritual and moral aspirations
can find expression.
Mohammad Reza Pahlavi

SIX
 HONORARY PATRONS
The Honorable Lyndon B. Johnson
President of the United States of America

His Imperial Majesty Mohammad Reza Shah Pahlavi

Shahanshah of Iran

Honorary Committee

For Iran: For the United States of America:

His Excellency Hossein Qods Nakhai The Honorable Earl Warren
Minister of Court The Chief Justice
His Excellency Abbas Aram The Honorable Dean Rusk
Minister of Foreign AfiFairs The Secretary of State
His Excellency Mahmoud Foroughi The Honorable Anthony J.
Celebrezze
Ambassador of Iran to the United States The Secretary of Health, Education, and
of America Welfare
His Excellency Dr. Abdol Ali Djahanshahi
The Honorable George W. Ball
Minister of Education
The Under Secretary of State

His Excellency Mohammad Hejazi

The Honorable W. Averell Harriman
Senator
The Under Secretary of State for Political
AfiFairs
Dr. Mahmoud Ziai
The Honorable Phillips Talbot
Deputy
Assistant Secretary of State for Near
His Excellency Shojaeddin Shafa Eastern and South Asian AfiFairs

Cultural Councilor, Ministry of Court

The Honorable Lucius D. Battle
Mr. Mohammad Kia Assistant Secretary of State for
Director of the Department of Cultural Educational and Cultural AfiFairs
Relations and International Cooperation, Holmes
The Honorable Julius C.
Ministry of Education
The Ambassador of the United States of
MOHANDES MoHSENE FoROUGHI America to Iran

seven

HUMANITIES INSTITUTE
BALDWIN-WALLACE COLLEGE
BEREA, OHIO 44017
 Executive Committee

For Iran: For the United States of America:

In Tehran: Mr. W. Clyde Dunn
Deputy Director, Near Eastern and South
Mr. Hassam Mashhun Asian Programs, Department of State
Director General of the Archeological
Sei^vice of Iran Dr. Richard Ettinghausen
Head Curator, Near Eastern Art, Freer
Professor Mohsene Moghadam Gallery of Art, Smithsonian Institution
Professor of Archeology, University of
Tehran Mr. John T. Forbes
and
Chief, Greek, Turkish, Iranian,
Professor Ezzatollah Negahban Cyprus Programs, Department of State
Technical Director, Archeological
Museum Mr. Martin F. Herz
Counselor for Political Affairs,
Mr. Ali Hakimi American Embassy, Tehran
Director of the Archeological Museum
Mr. Otis O. Martin
Mrs. Selma Moghadam Assistant Treasurer, Smithsonian
Director of the Library, Archeological Institution
Service
Dr. Annemarie H. Pope
Mrs. Zahra Nabil,
Chief, Traveling Exhibition Service,
Curator of the Historic Department, Smithsonian Institution
Archeological Museum
Professor Edith Porada
Miss Parvin Barzin Department of Art History and
Curator of the Islamic Department, Archeology, Columbia University
Archeological Museum
The Honorable S. Dillon Ripley
Miss Nouchine Naficy
Secretary, Smithsonian Institution
Assistant Curator of the Islamic
Department, Archeological Museum Miss Dorothy G. Shepherd
Curator of Textiles, Cleveland Museum of
Mr. Ismail Naficy
Art
Acting Curator of the Pre-historic
Department, Archeological Museum Dr. Charles K. Wilkinson
Curator Emeritus, Near Eastern
Mr. Morteza Rostamy Department, The Metropolitan Museum
Photographer, Archeological Museum of Art
Mr. Mohsene Piramoun
Expert, Archeological Museum

In Washington, D. C:
His Excellency Habib Naficy
Minister of Cultural AfiFairs, Embassy of
Iran

Mr. Ali Mohammad Shapurian

Press Counselor, Embassy of Iran

Dr. Taylor Gurney

Advisor, Embassy of Iran

eight
 FOREWORD
The last major exhibition of Iranian art held in the United States took place at the Metro-
politan Museum of Art in New York in 1949. It featured a splendid group of objects from the
Imperial Collections and Museums of Tehran. Ever since that time, a great many excavations
have produced a wealth of material of all periods of Iranian art; and magnificent gold, silver,
bronze, and ceramic objects have come to Hght.

The Smithsonian Institution welcomes the opportunity of presenting this important exhi-
bition, '7000 YEARS OF IRANIAN ART," to the American public
Through the in 1964-1965.
extraordinary generosity of the Government of Iran and Madame L. Foroughi, more than seven
hundred precious works of art are being shown in eight American museums from coast to coast.
They should contribute greatly to our understanding of the history and culture of Iran.
Their Imperial Majesties, Mohammad Reza Pahlavi, Shahanshah of Iran, and Empress
Farah have taken a personal interest in this endeavor and have graciously agreed to act as hon-
orary patrons of the exhibition. We are extremely grateful for their support and that of the
Council of Ministers and government officials. We are especially indebted to His Excellency Mah-
moud Foroughi, Ambassador of Iran in Washington, and his We would also like to express
staflF.

our appreciation for the wdse counsel of His Excellency Senator Hossein Ala, formerly Iranian
Ambassador in Washington and always a great supporter of Iranian art.

The Smithsonian Institution deems it a great honor that the President of the United States
and Mrs. Lyndon B. Johnson have consented to be honorary patrons of the exhibition. We also
wish to express our gratitude to the Department of State, notably the officials of the Bureau of
Educational and Cultural Affairs, without whose constant efiForts we could not have organized
this show. The tireless cooperation of His Excellency Julius T. Holmes, American Ambassador to
Iran, is noted here with deep appreciation, as is that of Dr. John E. Reinhardt, Cultural Affairs
Officer in our Embassy in Tehran.

In the selection of the outstanding objects from the Archeological Museum in Tehran, we
have been given invaluable support by Mr. Hassan Mashhun, Director General of the Archeolo-
Mr. Ah Hakimi, Director of the Archeological Museum, and Professor Ez-
gical Service of Iran,
zatollah Negahban, the Museum's Technical Director. Great services were also rendered by a
special Committee of the High Council of Iranian Archeology, in particular by Professor Moh-
sene Moghadam, Professor of Archeology at the University of Tehran, Mohandes Mohsene Fo-
roughi, and Mr. Mohsene Piramoun, Expert, Archeological Museum. Mme Selma Moghadam,
Director of the Library of the Archeological Service, has generously and untiringly made avail-

NINE
able all tho records of the Service, which were the basis for a great deal of the exhibition cata-
logue. P'inally, we would like to acknowledge our special indebtedness to Mr. Morteza Rostamy,
tlu' photographer of the Archeological Museum, whose photographs form the majority of the
illustrations.

Our gratitude goes to Dr. Richard Ettinghausen, Head Curator of Near Eastern Art at the

Freer Gallery of Art, for selecting the more than two hundred masterpieces from the Archeologi-
cal Museum in Tehran and for writing the scholarly introduction on "Iran Under Islam" for the
catalogue. His pupil, Miss Linda Bettman, deserves special mention for writing all entries of the
Tehran loans and acting as representative of the Smithsonian in many practical details.

We wish to acknowledge also the learned contribution of Professor Edith Porada of Colum-
bia University, who wrote the catalogue introduction on the Pre-Islamic period.

The Foroughi was originally shown in a comprehensive survey of Iranian art

collection
which was presented European museums in 1961-1963. This exhibition was organized by
in six

one of the foremost scholars in the Near Eastern field. Professor Roman Ghirshman, Director of
the French Archeological Mission in Iran. Professor Ghirshman and Professor Gaston Wiet
were responsible for the catalogue, "Sept Mille Ans d'Art en Iran," and we wish to thank both
for making it available to us as a basis for many of the descriptions in the present catalogue, which
were translated by Mrs. Elizabeth S. Ettinghausen.
We are grateful to Dr. L. J. F. Wijsenbeek, Director of the Municipal Museum in the Hague
and organizer of the European tour, for valuable assistance and negatives.
Madame Margueritte Ansari deserves our gratitude for supervising the packing and ship-
ping of the Foroughi collection.

Special thanks are due to Miss Nancy Curtis, Curator of the Traveling Exhibition Service,
whose labors made possible the assembling of the material for this catalogue on time, as well as to
Mr. Kurt Wiener for the composition of the catalogue.

The complex task of organizing and circulating this exhibition and of preparing the cata-
logue was carried out by the Smithsonian Institution Traveling Exhibition Service under the
direction of Dr. Annemarie H. Pope.

S. Dillon Ripley
Secretary
Smithsonian Institution

TEN
 ART OF IRAN
FROM THE PREHISTORIC TO THE SASANIAN PERIOD
Attraction of Ancient Iranian Art

What people to ancient Iranian art? What brings them to this

attracts
exhibition to view objects made by unknown craftsmen far removed from us
in time and space? What is it that moves collectors to buy "Iranian art," some-
times at exorbitant prices? The answers to these questions are best given by the
objects themselves. Yet we should also try to identify the factors that seem to
have created a fashion for the art of ancient Iran.

Perhaps the attraction is in the subtle balance so often achieved between

abstract shapes and their enlivenment by animal or human forms, as in the pitcher
from Marhk with a spout that suggests the head and neck of a crane. Or it may No. 53
be the expressiveness and elegance of the shapes and lines found especially in
bronzes from Luristan. Modem art has educated our eyes to the beauty and
interest of Hues and shapes, and we are now able to discover them in the arts of
past ages.

It could also be that since many of the objects preserved were made for
personal adornment and personal use in life and death, they seem desirable for
personal adornment to people of our modem age. Much of the jewelry, for ex-
ample, could be worn today, when effective design seems more important to
many customers than the value of the material employed, when bronze bracelets
can be worn that would have found little acclaim a century ago. Ancient bronze,
now usually covered with a green patina, has a great attraction for modern art
lovers and has contributed in no small measure to the hking for the bronzes of
Luristan and those of the so-called Amlash culture.

In our hurried and harried life a work of ancient Iranian art may seem
especially easy to live with because it pleases the eye without intruding too much
upon our concern with other matters. The subjects of Iranian art are most often
animals in quiet poses, standing, walking, or lying down with the legs folded
under the body. Most frequently shown are the untamed creatures of nature,
ibex* and mouflon,** and feline animals that we call lion or panther and leopard
if they are spotted. Bull and horse appear in groups of objects made by cattle-
and-horse-breeding peoples. Humped bulls especially were represented by peo-
ple of the south and southwest Caspian area; horses occasionally decorate cheek
pieces for horse bits found in Luristan.

and domestic, were surely thought by the inhabitants

All the animals, wild
of ancient Iran to have a meaning that transcended the mere animal; they were
probably considered symbols and adjuncts of gods, sharing with the deities the
power to aid and protect against evil forces. Religious texts, which could be
used for interpreting animal and demonic forms, were not written down before
the end of the pre-Christian era or even later; we shall therefore probably never

• A type of wild goat, having large reciirved horns.

•* A wild sheep, with large curving horns in the male.

ELEVEN
 be able to really understand the meaning of animak, and also of nKRisters and
demons, in ancieiit Iranian thou^t

We can share, howe\-er. in apprehending tiie qualities of the animals as

So. 11 the>'were rendered by people who observed them— sometimes with awe, as
showTO b\- the falcon and snakes on the portable S)-mbohc object from .\2erbaijan
—but more frequently \*ith lo\-ing interest and sympathy, and alwa>"s witii respect
\o. 445 We mav point, for example, to the proud carriage of the ibex in an object
—probably pre-Achaemenid—of unknown use. The animal stands motiooiess and
tense—as one ma>' obsen e the male ibex in die mountains of Iran—standing on a
rock, silhouetted against the horizon. The small, snub-nosed head, the slender
bodw and the kng thin legs of the animal in this object are like those of a fawxL
Thus the appeal, 1^ grace and elegance, of die )'oathful animal is combined with
the great horns of a mature buck.

The smaUness of the object singled out for comment characterizes much
of ancient Iranian art Yet many of these pieces haye an inherent moumnentahtv'
that has often been noted. They are extensible to mudi larger proportions in
photographic enlargements and also in our own
memories. This is surely because
die fine characteiizatiai of an animal, sadi as diis ibex, is achieved not by a

faithful rendering cl body details and surface textures, but rather by a strong
outline dominated by the magnificent sweqp of the boms. The ibex becomes an
abstraction of animal forms into simpler geometric ones, wfajtdi then combiDe
anew for a highly eSectiye pattem.

The Country
Vi5Uil preoccup2ticn works of ancient Iranian art naay aroiise interest
\^-:th

in the ccuntrs- in wbicii they were rr.Ade and in the people who made them. Iran
Lies between .Afghanistan and Fakiftan in the east and Iraq, ancient Mescprtamia,

in the west In the north, there is a co~n:on frontier uith the S«c\-:et Union, which
runs in part through the middle 0: the Caspian Sea, In the northwest in .Azerbai-
jan, Iran borders on Turkey. The present frontiers of Iran are much mere hmite-d
dian diose at die time of the .Achaemerid and Sasanian Empires, from the middle
of die first miHenniiim B.C to shortly after the mdidle of the Erst mihenniam .\.D.
Some of the featmes of the bonlexs, hofwevex. remained constant rjch as ihe
desert and the moontain ranges that separated and protected die inhabitants of
Iran from dieir nei^ibors in the east, in Balucfaistan. In die west die hi^
crests of the Zagros moontains fcsm a barrier between Iran and Iraq, but diere
are ne\*ertheless some passes in this mountain range thi: maae ani sr... make
travel possible from one ooimtiy to the other. Thr ':r :-!~ ~ r;.rs :: f re
near Khanakin between Kennanshah in Iran and the T: .\la ale 7::>
•

is the pass still tra\'eled today by p&saos diivii^ finim Tehran to 5 :

In southwest Iran, below die pfedmcnt c: the Z. :: > r : :r : .

'< : : -n
plain forms an extension of Mesc^xitamia, so -.r.\: 1-7: I: .-

and Iraq was very easy in die past, as it is today, .vacn laere li much r^m: 1 e-

tween Basra in, Iraq and Ahwaz and the oil refinery of .\badan in Iran.
Equalh* easy is the access to the plains of Iran in the northeast vhere
tribes coming frcn: Central Asia found no natura* Vomers :: *-heir Tfrerr.-.::::". ::
Iran. In historical times the Seljuk Turks and the Mongols came from that direc-
tion to estabHsh domination of Iran, and it is possible that incursions on a smaller
scale had occurred in prehistoric times.

In the northwest, the terrain is not as flat as in the other two regions just
mentioned, but in the ninth century B.C., armies from Urartu, later the territory
of Armenia, could nevertheless pass without too great hindrance to captiure thou-
sands of horses, cattle, and camels in cattle-breeding Azerbaijan.

While the plains that attracted foreign invaders by the wealth of their
towns and herds saw the merging of many peoples of different ethnic origin, some
of the secluded valleys of the mountain regions provided areas of refuge where old
traditions, reHgious and artistic, could survive for many centiuies and even
millennia. In some regions, especially in Luristan, one part of the population,
occupied with the livestock, even today has to migrate with the herds and flocks
between the mountains and the plains. When snow falls in the high places, they
descend to the plains, to return again to the mountains when summer heat has
scorched their pastures in the lowlands. This seasonal migration may be thou-
sands of years old; it may also account for an exchange of goods and ideas be-
tween the inhabitants of the mountains and those of the plain, who were domin-
ated by the town of Susa, capital of a coimtry that we call Elam, a name taken
over from the ancient Mesopotamians.

The green valleys and the plains that can be made fertile by irrigation are
unfortunately offset in Iran by extensive areas of desert that cannot be watered.
These desert areas are found especially in the interior of the plateau, while the
towns lie in a great arc of oases around the mountains near the sources of rivers
and where ground water is available. The life-giving quality of water, obvious
in Iran as in many other countries of the Near East, is expressed in the subjects
of many works of art. Sometimes water is merely indicated in a symbolic man-
ner, as by the rendering of snakes with undulating bodies, and then it is more
diflBcult to recognize. It is also possible that many of the vessels which we view

here were intended as sacrificial containers for water.

Historical survey based on the evidence of pottery

The economic use of water brought about the first great expansion of
Iranian village culture early in the fourth millennium B.C.; the spectacular in-
crease in the number of settlements may be traced to the transition from dry farm-
ing, which depends on rainfall, to irrigation agriculture. This expansion of settle-
ments is accompanied by the production of the finest painted pottery in the viU-

ages of the fourth millennium B.C. The most beautiful pottery was found at
Susa, where animal forms and abstract shapes and lines create marvelously
balanced designs, but very pleasing pottery was also produced elsewhere: in the
plain where Persepolis was to rise many thousands of years later; at Tepe Sialic,
near Kashan; at Tepe Hissar, near Damghan, in northeast Iran; and at many other
sites east and west, north and south.

Urban civilization

The following stage in Near Eastern development, the emergence of urban

civilization, is characterized by the invention of writing. Probably this aid to

TU1KTEDE3M
 overburdened memories was first devised in Mesopotamia several centuries before
3000 B.C. About 3000 B.C. the people of Susa had worked out a script of their
own along the lines of the Mcsopotamian one. They used the same writing ma-
terials, a reed stylus on clay tablets, and they authenticated their tablets with

seals of Mesopotamian type, shaped like a cylinder and perforated lengthwise.

The designs engraved on the cylinder seals from Susa reflect many of the activi-
ties of the people, from warfare to agriculture, and give us some idea of their

appearance.

Inscribed and sealed tablets were also found at Tepe Sialk, near Kashan,
but at no other site of ancient Iran. Systematic excavations have not been car-
ried out in many places, however, and it is possible that there were other sites that
shared in the development from village to towm.

This possibility is given some support by eight small figures, all rather simi-
lar, which turned up in various collections several years ago; one of these in the
No. 12 Foroughi Collection, the figure of a man with a scaly covering of the limbs, is
included in the exhibition. Since the figures were not found in systematic ex-
cavations, they are of only limited value as documents for the history and civili-
zation of ancient Iran. The present figure and a related figure in the Louvre are
carefully made in separate parts, a feature also found in earlier clay figurines,
which may be specifically Iranian. These little, scaly men seem to have a life and
a character of their own. Andre Parrot, of the Louvre, compared these statuettes
with a figure of equally powerful physique from Uruk Warka in Mesopotamia.
The figure from Uruk is dated about 3000 B.C.; hence the Iranian statuettes are
similarly dated, which seems quite acceptable. There remains the question of
where the figures were made. The probably decorative scar on the left side of the
face and what may be lip plugs have no parallels in works from Susa, and one
is forced to suggest that there must have been other places (perhaps farther east)

where valuable materials could have been worked into arresting sculptures by
able artists.

The Earlier Part of the Third Millennium B.C.

Little except pottery, cylinder seals, and a few crude reliefs were found at
Susa during the period following the first urban civilization. At Tepe Giyan, to
No. 10 the northeast of Susa, some related and very effectively painted pottery was made
at that time. We call the period Early Dynastic in Mesopotamia, dating it about
3000 to 2370 B.C. In Iran the object of greatest interest from this period comes
again, unfortunately, from clandestine excavations, although in this case we are
at least told that it was found somewhere in Azerbaijan. It is a large rectangular
No. 11 stone tablet with a handle crudely reinforced or repaired with copper bands,
suggesting that it was considered too valuable to be discarded when the handle
was broken. The object could have been carried or sv^omg in ceremonies or
processions. On one side is a bird of prey, with his claws surrounded by the
writhing bodies of two serpents, whose toothed feline heads flank the bird's
head. This symmetrical scheme probably renders a version of the enmity of
eagle and serpent, which must have been an important theme of ancient Iranian
art; the motif was later diflFused throughout the world.

FOURTEEN
 On the back of the object from Azerbaijan, an architectural motif, probably
symbohzing an enclosure, is repeated in rhythmic sequence. Steatite vessels with
the same motif have been found as far west as Mari on the Euphrates, and related
steatite vessels were discovered among the remains of the culture associated with
KuUi, site of an early village culture in the southern foothills of Baluchistan.
This object from Azerbaijan thus impressively demonstrates the wide connections
of ancient Iranian art in the third milleimium B.C.

city-states of Mesopotamia were united, and

About 2370 B.C. the various
from the town of Agade, extended its domina-
for a time a Semitic dynasty, ruling
tion over Elam. A reflection of these historical events can be seen in rock reHefs
of Kurdistan, which are influenced by those of King Naramsin of Agade. This
influence, however, did not reach farther to the east.

Early Gray Ware Culture

At Tepe Hissar, near Damghan in the northeast, a different influence had
made itself felt, bringing with it a gray pottery ( which is black at some sites like

Tureng Tepe, north of Hissar). By the last quarter of the third millennium, the Nos. 16,17
gray ware had replaced the painted ware of the earliest periods at Hissar. The
archeologists who excavated the site had numbered the periods beginning with
Hissar I for the early painted pottery period and ending with Hissar IH. Actually,
the period deserves a more descriptive name. It yielded the effective gold

appliques of mouflon heads, the striking alabaster idols of which examples are Nos. 15, 13, 14
shown in the present exhibition, and the alabaster pitcher with its simple clearly
accentuated forms. Hissar III manifested great wealth, probably obtained
thi-ough trade and perhaps also tlirough the extraordinary craftsmanship and
technological proficiency shown in the metal objects found at the site. The cul-
ture could also have been named for the early gray ware by which it is character-
ized and which varies from gray to black at the different sites of this cultiu-e. One
of them Tureng Tepe, from which two vessels have been chosen for this exhibi-
is Nos. 16, 17
tion. This ware has pleasing, clearly articulated forms and a silvery color prob-
ably meant to imitate precious metal vessels. We cannot give a name, however,
to the people who were the bearers of this culture. They left no written records,
and the relationships of their pottery to that of other regions and peoples are
still a matter of debate. The dates assigned by various scholars to this culture
vary by almost a thousand years, but recent carbon tests at a site with the same
pottery, Yarim Tepe, in Gurgan province, showed that the middle of the period
should be dated about 2200 to 1900 B.C. The end of the period, when the settle-
ment v^as destroyed— after the frightened inhabitants had buried their treasures,
such as the gold apphques—probably came some time before the middle of the
second millennium B.C.
As has been shown by T. Cuyler Young, Jr., an American archaeologist,
itseems hkely that even after the settlement was destroyed, the culture of Hissar
III continued at the site but probably in an impoverished manner and with coarser
pottery. The continuation of the Hissar II cultiu"e is of especial interest because
it may represent an earHer stage of the culture characterized by gray ware found
at various sites in Western Iran in levels of the late second and early first miUen-
nium B.C.

FIFTEEN
 The Marlik culture

Tlie first of tliese to be discussed is the culture manifested in the tombs of

Marlik, a site excavated by Ezat O. Negahban above the east bank of the Sefid
Rud, near Rudbar in the province of Gilan, south of the Caspian Sea. The region
has sufficient water and therefore luxuriant vegetation. To reach the hill of the
tombs, one passes tlirough rich rice fields and olive groves. The contents of the
tombs have revealed many facets of the culture popularly and misleadingly called
Amlash after a small town northeast of Marlik, first indicated by art dealers as
tlie source of the objects belonging to this culture. Since Marhk has now been
excavated, it seems more sensible to use that name for the assemblage of objects
found at that site and for the culture to which they belong.

Nos. 18-55 To the Marlik culture, here dated approximately 1200 to 1000 B.C., belongs
the largest number of Tehran Museum objects in the exhibition. The finds in-
Nos. 18-27 elude gold and silver vessels worked in several elaborate styles and jewelry in
which granulation was much used. There is also a beaker made of glass mosaic
No. 37 in a very intricate technique. There are pottery and bronze objects made in sim-
ple, though highly effective, forms; vessels in the shape of human figures and
Nos. 47-49 bulls of pottery hitherto called Amlash bulls, and other animals such as a stag
and a ram, all with spouted mouths. The bronzes include female figures of al-
Nos. 39, 40-44 most steatopygous form— probably fertihty charms— groups of animals, and single
animals. The differences in style between the elaborate gold and silver vessels
and the potteries and bronzes are so great that one can scarcely assume they were
all made in the same workshops or even in the same place.

Most hkely, some of the spectacular gold vessels were brought from else-
No. 18 where. Wherever an object like the gold beaker with winged bulls was made,
however, it was produced by a master hand. The animals that turn their fully
modeled heads toward the viewer, at right angles to the relief of the rest of the
body, should have unnatural postures, and their patterned bodies should look
artificial. Instead, they appear forceful, alive, and convincing, even to the great
wings that characterize the animals as supernatural creatures. The manner in
which the bulls' heads are worked in the round, causing the animal figures to
participate actively in the surrounding space, may be traced to a tradition that
was current at Susa, indicating some relationship between north and south al-
though the known links are still tenuous.

No. 19 The
style of the bull beaker also appears in a small bowl with falcons and
sheep,whose heads are turned out from the background. In another beaker of
No. 20 what must surely be the same style, however, the buUs and griffins that walk
around the bowl in two registers keep their heads in the direction of the bodies.

The naturalistic and, we might say, sculptural style of the buU beaker is

No. 21 and linearized

simplified in the gold bowl from Kalardasht around which lionesses
are shown slinking.

No. 22 A
second gold beaker from Marlik with slightly concave sides, introduces
style. The designs are engraved in a new elegant
a different shape and a different
and decorative maimer, magnificently executed not only on this piece but on an-
other gold vessel in the Louvre. In contrast to the first bull beaker, where the

SIXTEEN
supernatural character of the animals is indicated by wings, the same quality is

suggested in this piece by the bulls' unnatural slenderness and decoratively

treated curved necks and winglike hair tufts on leg joints and backs. The ab-
beaker difiFers so greatly from the naturalistic style of the first
stract style of this
that both could hardly have been made at the same time. The fact that we seem
to find echoes of the abstract decorative style on objects of the early first millen-
nium, such as Luristan bronzes, suggests that the abstract style is the later of the
two.

A third distinctive style of gold vessels from Marlik —which we may call
narrative — is shown by the gold bowl discovered in Hasanlu, Azerbaijan, by
Robert H. Dyson, Jr. in 1958. Since the execution of the Hasanlu bowl is finer
than that of the related beaker from Marlik, and the scenes engraved and chased
on the bowl are far more intersting, we shall discuss the bowl as an example
of this third style. The representations are framed by a double guilloche above
and a single one below, but the scenes are quite freely arranged in one or two
registers according to their significance. In the uppermost register are three
deities, each in a chariot, two of which are drawn by mules, one by a bull. They
probably represent the sun god with a winged disk on his head, the god of the
country wearing a homed miter, and the weather god characterized by his usual
adjunct, tlie bull. Before the last-named god stands a priest, holding a tall beaker,
who is apparently presenting a sacrifice of sheep brought by two men behind him.
Below the weather god in his chariot, a great contest is taking place be-
tween a monster and a hero. The monster has a human head and upper body,
but its lower body is encased in a mountain, the back of which curves up in the
rear in the form of a snake with three dogs' or wolves' heads. Upon the upper-
most of these heads flows a stream of water spewed by the bull pulling the
weather god's chariot. Bubbles rise from the stream and surround the Scylla-
like back of the monster. This visual connection between the upper and lower
registers suggests that the hero fighting the monster is again the weather
god, but now represented in fighting attire with a short kilt and ribbed weapons
protecting his hands.

Beside the battle narrative is a scene in which a child is offered to an en-

throned figure, presumably a god, holding an axe. Another part shows a goddess
standing on two rams, who opens her mantle and exposes her nude body in a
manner well known from renderings in Syrian art. It may be possible to associate
these scenes with an epic describing the efforts of an elder, Kronos-like god,
Kummarbi, to regain the heavenly kingship lost to the weather god. For this
purpose he causes the birth of a monster with a body of stone based in the sea.
The monster fights the weather god but is eventually defeated by him. The epic
of Kummarbi, although preserved in a Hittite literary text, is a myth of the Hur-
rians, a non-Semitic and non-Indo-European people thought to have lived in
northern Syria and northwest Iran during the latter part of the second millennium
B.C.

The gold bowl was excavated with such care and minute observation of
detailby Robert H. Dyson, Jr. that he was able to reconstruct the dramatic cir-
cumstances under which it was buried almost three thousand years ago, in the
course of the destruction of the citadel of Hasanlu. The bowl "was being carried

SEVENTEEN
 out of the flaming building by one of three men who were on the second floor at
tlie moment it gave way. The leader of the group fell sprawled forward on his

face, his arms spread out before him to break the fall, his iron sword with its
handle of gold foil caught beneath his chest. The second man, carrying the gold
bowl, fell forward on his right shoulder, his left arm with its gauntlet of bronze
buttons flung against the wall, his right arm and the bowl dropped in front of him,
his skull crushed in its cap of copper. As he fell, hiscompanion following on his
left also fell, tripping across the bowl carrier's feet and plunging into the debris."
(Quoted from Robert H. Dyson, Jr., "Digging in Iran: Hasanlu, 1958," Expedition,
Spring, 1959, pp. 12-14).

The destruction of the citadel occurred in the late ninth century B.C. The
bowl was already an heirloom at this time, having been made between 1250 and
1050 B.C.

Returningnow to the objects from Marlik, one of the finest is a silver beak-
No. 25 er worked outhne without repousse, shov^dng a hero controlhng lions. Connec-
in
tions with the Hasanlu bowl are obvious in the pattern of the hero's upper gar-
ment. To quote Dyson's comment, "he went to the same tailor as the people of
the Hasanlu bowl."

No. 27 A fourth style among the Marlik gold vessels is here represented by a
beaker with two registers of recumbent gazelles. The bodies of the naturalistical-
ly outlined animals are marked with a pattern produced by punching. The style
may therefore be called punch marked. We find punched patterning not only
in this beaker but also in other objects from the Marlik tombs— in a finial resemb-
Nos. 28, 29 hng the shape of a human figure and in several gold lion heads that perhaps are
bracelet ends. In fact, the punch marks are not unlike the rows of small indenta-
No. 47 tions seen on the pottery sheep found in one of the MarHk tombs.

Thisall too brief survey of the most interesting objects from Marlik may

serve to demonstrate their diversity within a culture whose framework is only

gradually becoming known. The objects may have been produced in an area
extending from Mazanderan to Azerbaijan, if not farther. Pieces in the Tehran
Museum not from Marlik but belonging to that culture by their style, are there-
fore classified as "Marlik Culture."

Button-Base period at Hasanlu, c. 1250-1050 B.C., and other sites

Probably contemporary with the graves at Marlik were others excavated

at Hasanlu. Among their modest contents were pottery vessels with so-called
button bases, i.e., tiny ring or disk bases similar to the glass mosaic vase from
Marlik. The surface of this pottery often has a silvery sheen suggestive of pre-
cious metal vessels and reminiscent of the gray ware of Hissar III. This resem-
blance of the potteries, to which can be added some similarity in the shape, may
indicate developments in the history of Iran that are still in the process of being
evaluated. The approximate dates of the Button-base Period at Hasanlu have
been estabhshed on stratigraphic evidence and on the basis of Carbon 14 samples,
and are placed at 1250 to 1050 B.C. To about the same period may be assigned
the early gray ware from other sites like Khurvin, while that of Marlik, probably
beginning at this early period, may have lasted longer.

UGHTEES
 433. GOLD BRACELET. 7lh c. B.C.

448. GOLD BOWL. 5th c. B.C.

NINETEEN
 ^\..-

4-1;}. IIKAl) ()!• A kINC

.->tii f. n.c.

463. TWO RUNNING BRONZE HORSES. Achacmenid.

TWENTY
right:

445. SILVER IBEX

STATUETTE.
5th c. B.C.

below:
51. RED POTTERY GOAT.
Ca. 1200-1000 B.C.

TWENTY-ONE
 441. POTTERY JAR. Late 8th-7th c. B.C.

T^VENTY-T^^
Gray Ware period at Hasanlu c.1050-800 B.C.

The phase following the Button-base Period at Hasanlu was named the
Gray Ware Period after the characteristic late gray pottery that developed from
the gray ceramics of the preceding period. This Gray Ware Period is dated about No. 60
1050 to 800 B.C.

A beaker with gold or electrum overlays, found in the debris of the

silver
destruction at the end of the Gray Ware phase of Hasanlu shows how the local
tradition as manifested in the gold bowl (which had probably been made in the No. 23
Button-base phase) merged with Assyrian art influences of the ninth century
B.C. The lively poses of the men with straggly hair and short beards are com-
parable to the figures of the gold bowl. Such mannerisms as the marking of the
joints by multiple concentric semicircles noted in some of the gold bowls and bea-
kers of the earlier phase, are further elaborated in the beaker's animal designs by
forming large parts of the outlines. On the other hand, a characteristic Assyrian
feature can be seen in the type of chariot, which resembles those rendered in the
reliefs of King Ashurnasirpal (883-859 B.C.). The influence from the well-order-
ed Assyrian designs may account for the beaker's arrangement of a narrative
scene into clearly divided registers, differing from the freer formation of the
Hasanlu bowl scenes.

Excavations on the citadel of Hasanlu yielded many other objects of the

highest interest, not only for their inherent value as works of art such as the lion
bowl of Egyptian blue but also because they were excavated with such precision
that every possible scrap of historical evidence was derived from the circum-
stances in which the object was found. So far, the results of these excavations
provide our only fixed points for dating Western Iranian material of the early
first millennium B.C. They also serve to confirm the dates of the material ex-
cavated by Roman Ghirshman atTepe Sialk near Kashan, which produced gaily-
painted pottery as well as gray ware between the ninth and seventh centuries No. 61, 62
B.C.

Unfortunately the excavations at Susa, in the southwest of Iran, were

begun an earher phase of archeological methods and therefore do not tell us
in
much about the time and the culture in which a given object was found. Some
information, however, is provided by inscribed objects that bear names of person-
ages known in history. A large number of such inscribed objects, judiciously
collected by Mohsene Foroughi, are shown in the present exhibition.

Some conception of the grandiose architectural projects of the powerful

Elamite rulers can be gained from Ghirshman's excavations of the ziggurat com-
plex* built by King Untashgal** at Tchoga Zanbil near Susa. From the objects
excavated in the palace and temples of that site, one also learns something about
the art produced at the court and also about devotional objects made in Elam at
that time.

The acomplishments of the metalworkers at Susa are exemplified by the

beautiful statue of Untashgal's Queen Napirasu, now in the Louvre, and by a

Temple towers
«» During the thirteenth century B.C.

TWENTY-THBEE
 model of a ceremony showing human figures, architecture, and even trees, all
made of bronze for a twelfth-century king, Shilhak-Inshushinak.

Ofthe elaborate gold and silver vessels which were surely used at the
court, none have been found in Susa itself. It is possible, however, that some
of the beautiful vessels found in Marlik had been made by the well-trained artists
of the Elamite capital. The Assyrians pillaged Susa so thoroughly in 640 B.C.
that not even many bronze vessels were found there.

The Luristan bronzes

The bronze objects found in the mountainous Hinterland of the Elamites,

in Luristan (here represented by the fine bronzes in the Foroughi Collection),
were perhaps largely inspired by those produced in the Elamite capital; so far
however, the dearth of objects from Susa has made it prove this con-
diflBcult to
tention.

Some of these bronzes, specifically daggers and axes, can be dated by

Babylonian and Elamite kings' names of the twelfth
their inscriptions— that include
and eleventh centuries— but the majority float between impossibly high dates of
the second millennium and impossibly low ones of the eighth and seventh cen-
turies B.C. Yet it is important to establish the date of these bronzes because this
would give some indication of the group of people with whom they should
be associated. A date in the early first millennium B.C., for example, to which
this writer would assign the majority of the cast bronzes— including the well-
known standards— would exclude the association of this material with the Cim-
merians, which has been repeatedly suggested.

Instead, the survival of earlier motifs, the absence of Assyrian influence, the
tendency toward a geometric and abstract style occasionally reflecting in coar-
sened manner the style of the elegant, decorative beaker from Marlik, seem to
point toward a date in the ninth, perhaps even in the tenth century B.C.; this date
seems more likely than a much later one in the eighth and seventh centuries, when
the fairly naturalistic style prevailing in Assyria in and after the time of Sargon II
(721-705 B.C.) pervaded the neighboring arts.

For the reasons here enumerated, not only most of the Luristan cast
bronzes but also the majority of the repousse works are here dated from the ninth
to the seventh century B.C. These include the finest among the Luristan bronzes,
in which the decorative possibilities of animal forms are fully exploited. Moreover,
the repousse objects include some of the most arresting examples of Iranian art.
One would hke to know how to interpret these expressive renderings of demons
and animals, but no text or tradition can definitely be associated with them.

Neo-Elamite style in objects from Luristan

A number of Luristan objects reflect not the geometric, rather abstract

style of the cast bronzes but a more naturalistic one particularly evident in
No. 424 repousse works, for example, the ram-headed cup or situla believed to be from
Luristan. One would assume that such objects, made in a style close to that of

TWENTY-FOUR
the late eighth-century Assyrian court, were produced from Elamites in Susa and
other towns of the plain rather than for the Luristan mountaineers. The discovery
of these objects, if true, may be explained in one of two ways. One, they could
have been carried to the safety of the mountains by Elamites fleeing from the Assy-
rian armies. Two, the objects may have been dedicated in sanctuaries of Luristan;
one sanctuary was excavated at Surkh Dum, though its contents are not yet pub-
lished, and, therefore, we do not know whether objects of what we could call the
Neo-Elamite style were present among those of the cruder, more expressive, style
which we consider typical of the Luristan bronzes.

Objects from unknown groups

Some objects are believed to come from Liuistan or from some other Nos. 418-426
province but do not resemble other known types They probably
of Iranian art.
belong to local groups of the late second or early first millennium which are still
to be discovered. These objects are among the most interesting and attractive ones
selected for the present exhibition from the Tehran Museum. They have been
assembled in a separate group, which should stimulate visitors to use their in-
genuity in dating and locating individual pieces.

The great expansion of the Assyrian Empire in the late eighth century
B.C. resulted in unprecedented opportunities for exchange of goods and artists in

western Asia. Conceivably the competitors of the Assyrians, the Urartians, had
already encouraged movements of craftsmen from Syria and Phoenicia to points
further east in the first half of the eighth century B.C. This greatly spread Assy-
rian, as well as Syrian and Phoenician, style and iconography.

The Treasure of Ziwiye

All these styles are represented in the carved ivories and gold objects; they
are from a treasure discovered in 1947 in a mountain that towers over the re-
mote village of Ziwiye in northern Kurdistan. The treasure appears to have been
buried in a tub or trough probably belonging to a high Assyrian oflScer of the late
eighth century B.C. The representations engraved on the rim of the trough
flat

show an official with his retinue receiving the tribute of people wearing the Iran-
ian costume of the time—peaked caps with points falling backwards, spotted
garments bordered with fringe, what look like woolen stockings, and shoes with
upturned toes. Parts of this rim, as well as a representative group of ivories said
to have been found in the trough, may be seen in the Metropohtan Museum of
Art; the ivories show themes known from Assyrian art but often render these
motifs with the somewhat exaggerated proportions characteristic of provincial
origins.

The gold jewelry beheved to come from Ziwiye shows a different style; No. 427
this can be observed in the pectoral in which two rows of animals and monsters
converge on a sacred tree in two registers. The monsters show a mixture of Assy-
rian and Phoenician elements. Some of the animals look Assyrian, like the goats
and the winged bulls on either side of the sacred tree, but other animals, fitted
into the comers of the decorated strip, look distinctly Scythian. The Scythians

TWENTY-FIVE
 )

were marauding Indo-European tribesmen who were probably used by the major
powers— the Urartians, the Assyrians, and also the Manneans— in the manner of
condottieri. The art especially associated with them was found in graves in South
Russia.* Scythian animal representation is characterized by a tightly closed
outline and by a use of geometric forms such as circles for eyes, upward curling
lips, heart-shaped ears, etc. All these characteristics are found in the small ani-
mals of the Ziwiye pectoral added perhaps to create some new type of monster
as a personal mark of the owner. Such Scythian animals entirely fill a big silver
Nos. 429, 431, platter, serving as gold appliques, and also appear on other objects in the
432 exhibition.

A bracelet from Ziwiye here shown prefigures later Scythian work in the
No. 433 use of slanting planes that enhance the effect of the shining gold. A second iden-
tical bracelet is in the Metropolitan Museum.

To people concerned with relations between the Near East and Greece,
Nos. 435, 436 the head of a griffin from Ziwiye is of special interest; actually, it is one of two
said to have been found at the site together with two lions' heads that may have
adorned a cauldron. The use of such griffin heads in the East and the West sug-
gests an exchange of goods and ideas long before the political contacts between
Greeks and Persians in the sixth century. ( The ceramic objects of glazed earthen-
ware from Ziwiye included here probably represent a local Iranian style which
Nos. 439, 441 requires further study.

The various stylistic elements in the Ziwiye treasure have given rise to
different views concerning the people— the Assyrians, Urartians, Manneans,
Scythians, and Medes— with whom the treasure
to is be Richard
associated.
D. Bamett of the British Museum has made a very convincing case for assigning
the treasure to the Medes, an Indo-European people— perhaps of East Iranian
origin— who were first mentioned in Assyrian texts in the latter part of the ninth
century B.C. By the end of the seventh century the Medes were a united and
formidable power in Iran and participated in the overthrow of Assyria ( which was
virtually accomplished in 612 B.C. by the destruction of the great Assyrian towns,
Nineveh and Ashur). Together with the Babylonians, the Medes took over the
heritage of Assyria.

So no Median site has been excavated, however, and only clandestine

far
digging has been going on in Hamadan, formerly the Median capital of Ecbatana.
Excavations planned by Dyson at Ziwiye may throw some light on the group who
lived in the Ziwiye citadel and on the people who buried the treasure. Whether
either can be identified as Medes, however, remains to be seen.

A
hght buff pottery, also found at Ziwiye, has been dated between 700 and
400 B.C. This pottery was in general use at many sites in Western Iran and also
in Pars, where the Achaemenid Persians later built Pasargadadae and Persepolis.
Whether it was specially favored by the Medes, and later by the Achaemenids,
or merely conformed to a general fashion of the time, its wide distribution shows
a certain uniformity in taste that corresponds to a general uniformity in art; this

consistency contrasts markedly with special groups such as the Luristan bronzes or
the painted pottery of Sialk, seen in the early first millennium.

" The Scythians had withdrawn to South Russia after having been expelled from Asia by
Cyaxares, king of the Medes, sometime after 600 B.C.

TWENTY-SIX
 Painted pottery objects were also produced at this time in certain areas,
probably in villages. One example is the horse-shaped vessel from Maku, in the No. 442
far northwest of Iran; another, not included in the exhibition, was found in Susa.
The saddle covers of both horses were shown by Ghirshman to be the same as
those used by Achaemenid horsemen— including those on the mosaic found at
Pompeii— of the battle of Alexander and Darius III at Issos. Moreover, the ani-
mals painted on the Maku vessel leap hke the horned animals of Achaemenid
metalwork. The similarity to Achaemenid art shows that these pottery horses were
probably made shortly before the Achaemenids came to power in Iran.

The Achaemenid Empire and its art

The empire founded by Cyrus the Great (559-530 B.C.) came to comprise
Iran, Mesopotamia, Syria, Egypt, Asia Minor with its Greek towns and islands,
Thrace, and parts of India. The first capital of the Achaemenids was Pasargadae,
now being re-excavated by a British group under David Stronach. Darius the
Great (522-486 B.C.), however, founded Persepolis on a terrace about twenty-
seven miles as the crow flies southwest of Pasargadae (actually, by the ancient
road winding through the valley of the Pulvar River, almost fifty miles). The
ruins of Persepolis, principally excavated by an expedition of the Oriental In-
stitute ofChicago, show that the buildings consisted of treasuries, armories, bar-
racks, and audience and festival halls. Because of the nature of the buildings, the
site has been identified as a religious rather than an administrative center; it was

here that the New Year's festival, the greatest religious event of Iran, was probably
celebrated every year and where great treasures of the realm were stored.

The religious significance of PersepoHs explains the destruction of the

site by the Alexander the Great. The destruction was probably de-
soldiers of
unmistakable traces of a previous, thorough pillaging of the
liberate, since the
buildings were found by the excavators. This pillage also explains the relative
paucity of finds at Persepolis.

In the exhibition is a head of a blue, glass-like composition— called Egyp-

tian Blue— with a battlemented crown; the head was discovered in the excavations No. 443
of PersepoHs carried on by the Iranian Antiquities Service. The smooth planes
of the round, beardless face may portray an Achaemenid prince; the face also
gives us some idea of Achaemenid sculpture in the round, of which no larger
works smrvive.

Our ideas about Achaemenid art are largely derived from the reliefs that
adorned the facades and parapets of stairways and jambs of doorways at Perse-
polis. The themes of these reliefs, directly or indirectly, seem to have been re-
lated to the king. They show him seated on the throne supported by representa-
tives of all the nations of the Achaemenid Empire or, on the jambs of doors,
presumably walking in or out of a building. Heroic figures battling monsters or
wild beasts are probably also to be identified with the king conquering evil
powers, and even the processions of tributaries, guards, and servants can be re-
lated to the person of the king.

Originally rehefs were brightly colored, and the figures of king and crown

TWENTY-SEVEN
 prince were adorned with jewelry of precious metal. Today, all the figures have
only the dark gray color of the natural stone, polished, where the original surface
is preserved, to an abnost glass-like finish. There is much repetition of similar
figures in these reliefs; in detail, however, the reliefs are far from monotonous.
The restrained modeling, for example, of the naturalistically-conceived animals
of the tribute procession, with their smooth and beautifully-proportioned
forms, may be viewed with great pleasure. These animals provide an interesting
contrast with the severely stylized group of lion and bull appearing like a heraldic
vignette on the stairway facades of the various Persepolis palaces.

Such contrast between naturalistic and strongly stylized animal forms is

also seen in the metalwork of the Achaemenid period, several examples of which
are included in the present exhibition. A magnificent gold cup or situla is in the
No. 451 form of a gazelle's head. The principal part of the animal's head are transformed
into geometric shapes based on the circle. In fact, there is little if anything
here that actually corresponds to the natural features of a gazelle. Yet the dif-
ferent parts are combined for and the very minor
satisfactory composition,
deviation from the circle at the end of the gazelle horn even introduces a slight
suggestion of life. This balance between severely stylized shapes and the sug-
gestion, however tenuous, of living forms, constitutes one of the attractions of
Achaemenid art.
A parallel to the situla with the gazelle head is provided by the bowl
No. 448 which, according to its inscriptions, once belonged to Darius's son Xerxes (486-
465 B.C.). There the basic shapes are floral, though the original petals and stems
by the goldsmith. We
are scarcely recognizable in the decorative pattern created
may also note in this and other gold Achaemenid craftsmen took
vessels that the
up a device first observed in the gold bracelet from Ziwiye— that of showing
smooth-slanting or curving planes in which the play of light contributed to the
shimmering effect of the goldwork.

Some most delightful small animal sculptures from this period

of the
Nos. 446, 447 come from vases to which animal figures were applied as handles. The example
in the exhibition of a silver vase thought to be from Hamadan-Ecbatana is particu-
larly interesting because it has the sharp and stiff stylization associated by some
scholars with Median art. Median art surely influenced Achaemenid forms
through many different channels, but the sflver and gold vessels that we may
assume to have formed parts of the Median royal treasure captured by the
Persians would have been particularly Ukely to serve as models for their artists.

Gold was also applied to robes of state, as we can deduce from the appli-
Nos. 455, 456 ques which were probably sewn on royal purple or other strongly colored textiles.
Photographic enlargements of these small objects or examinations with a magni-
fying glass show the great care with which this jewelry was executed and also
draw attention to the monumentality inherent in some of these pieces. More-
over, it is also interesting to observe the uniformity of oflBcial Achaemenid art;

little differentiation of rendering is evident in either large reliefs or small pieces

of jewelry.

What we have here called oflScial Achaemenid art, known from the reliefs
of Persepolis, was only one aspect of the artproduced within the Empire, how-
ever. Another aspect is illustrated by the great bronze stand with three lions

TWENTY-EIGHT
whose stylization differs from that of the hons so far described. Those of the
stand are more naturahstic and closer to Assyrian prototypes. The foreparts of a
small hon of Egyptian Blue seem to be intermediary between the more natm-ahs- No. 458
tic hons and those more severely stylized. The
Egyptian Blue was used
fact that
for this object as well as for the head of a prince mentioned above, does not mean
that these works were made in Egypt. On the contrary, an Egyptian falcon of
the same material, on a small plaque from Persepolis, shows that Egyptian motifs
were rendered in a non-Egyptian manner by omitting essential elements. No. 459
A different, far more naturalistic style is manifested in the powerful bronze
figure of a mountain sheep; it is here classified as Achaemenid with the reserva-
tion that no exact parallel is available for the style of the object.
Lastly, the contemporary art of Greece had a strong atraction for many Per-
sians as can be seen Greek styles. This is
in their seal stones that often reflect
also illustrated in the relatively large number of objects found in Persepolis show-
ing Greek influence, of which the bronze horses, perhaps a fragment of a No. 463
larger composition, are an example. Another, probably somewhat earher, ex-
ample is the boar plaque, probably from the trappings of a horse, and said to come No. 464
from Gilan.
These objects are an indication of Greek influence in the Achaemenid Em-
pire before Alexander.

Seleucid rule in Iran

The victory of Alexander the Great over the Persian king, Darius III, in
331 B.C. and the subsequent assumption by Alexander of royal power in Iran
ushered in a new era for that country. and concepts of law, that had
Institutions
grown up in the Greek and had brought about its flowering, were implanted
polis
in Iran. The practice of making the town ( the polis ) the basis of their adminis-
tration was taken over by Alexander's heirs, Seleucus and his descendants.
Though our sources for this period are limited, there is evidence that new cities

were located in places where the Greek soldier-colonists could control the unruly
and rapacious mountain peoples and prevent them from harassing the plains
population. Other towns were placed in regions which were to be exploited
agriculturally to a greater extent than before. Finally, the Macedonians were
said to have planted grapes in Khuzistan, where they had not previously been
grown.
The few works of art which can be easily ascribed to the Seleucid period in
Iran because of their Hellenistic style, are all of bronze. This suggests that the
majority of such works was melted down and reused in subsequent periods. Be-
cause no Seleucid site has been excavated in Iran, we do not know to what extent
local post-Achaemenid styles survived and whether some objects which we now
call Achaemenid should not actually be assigned to the period of Seleucid rule.

The Parthians and their art

Seleucid domination came to an end in the middle of the third century

B.C. when the Parthians, a people originally of Central Asiatic origin, established

TV^^ENTY-NINE
 their suzerainty over Iran. In contrast to the centraHzed governmental systems
of the Achaemenids and the Seleucids, the Parthians retained their own feudal
system during the which they ruled Iran. It has been suggested
five centuries in

that in such a system the initiative and freedom of action accorded to the single
horse-riding knight and his bowmen offered greater advantages than those pro-
vided by a system of centralized authority. Under the feudal system the pre-
requisites for mobile warfare were maintained by which the nomads of Central
Asia could be effectively prevented from interfering with the all-important cara-
van trade with the Far East; in addition, the settled population of the northern
and northeastern parts of Iran could be defended against raids or attempts at
penetration by undesirable nomadic elements.

Such mobile warfare accounted for the famous Parthian victory over Cras-
sus atCarrhae in 53 B.C.* Roman historians are among the few sources from
which some information can be gained about Parthian history beyond the facts
denoted by the coinage of the Parthian kings.

The history of art in the five centuries of Parthian rule in Iran is poorly
Nos. 469, 468 documented. Except for the magnificent bronze statue of a ruler from Shami and
fragments of a few other statues, the largest body of sizable works of art consists
"No. 472 in awkwardly outlined, flat rock reliefs. A few examples of the minor arts, how-
ever, indicate that fine craftsmenship and taste could be found in Parthian times.

No. 47S A small gold

Eros with a monster or a griffin, if Parthian, shows the strong
Hellenistic background of
this art; another influence is represented in the drop-
shaped inlays for colorful stones which were favored by the northern nomads
after they had become acquainted with the sumptuous inlaid bracelets and neck-
laces produced by the goldsmiths of Iran and Outer Iran in the Achaemenid
period.

This single Parthian object exemplifying the combination of two different

men and
spheres of art must suffice to give the reader an idea of the exchange of
goods, styles and motifs between Central Asia and India and the Near East in
the Parthian period. Excavations in Central Asia and Afghanistan are gradually
filhng the gaps in our knowledge of this age.

An entertaining documentation on the appearance of Parthian nobility is

No. ^0 provided by the mother-of-pearl inlays from Shami with Hvely renderings of an
archer, two horsemen, and a female figure (who is thought perhaps to represent
a queen). In the design of the Iranian draughtsman the directed glance of the
Hellenistic faces has become a beady-eyed stare.

Probably more works of art belong to the Parthian period than are recog-
nized at present because certain types changed very little. The pottery rhyton
"No. 474 from Demavend, for example, has preserved the basic shape of the earlier period.
It can be recognized as Parthian only because the ivory rhytons found at Nysa,
near Ashkabad, in Turkmenistan, thought to be the first capital of the Parthians,
have taught us that Parthian rhyta became longer and thinner than those of earlier
times.

* Crassus was the third member of the Roman Caesar-Pompey triumvir.

THIRTY
 )

The Sasanian Empire and its art

Parthian rule in Iran was replaced in 224 A.D. by that of the Sasanians,
princes of Istakhr, a town near Persepolis. They claimed descent from the Achae-
menids, whose glorious memory was surely kept alive from generation to genera-
tion by storytellers.

In turn the Sasanian rulers furnished the material from which was woven
the image of the fairy-tale monarch encountered in innumerable stories told both
in the East and West. It is the image of a ruler of unlimited wealth and power,
who which he hved remote from his people, who hunted
built gigantic palaces in
with miraculous and who courted a princess of a foreign land whom he
skill,

finally married. Much of the material for such a figure could be taken from the
gigantic projects and varying fortunes of Khusrau II (590-628 B.C.), the last
great Sasanian king. Moreover, one has the feeling that Sasanian monarchs sur-
rounded themselves purposely with a certain air of marvel and wonder, to judge
by the report of an Arab prince of a visit to Khusrau I Anushirvan (531-579 B.C.
contained in the writings of the historian Tabari: " Nushirwan was seated on a
gold throne the four feet of which were rubies and which was covered by a bro-
cade rug. The crown was covered with emeralds, rubies, and pearls, and was so
heavy that he could not carry it on his head. It was suspended above the throne
from the ceiling by a gold chain so that one did not see it unless one was very
close to the throne. If one looked from afar, one thought that, despite its weight,
the crown rested on his head."

Ceremonial at the Sasanian court was surely very stiff, and some of the
rules and practices of the Sasanian feudal lords and knights influenced the Euro-
pean age of chivalry. The Sasanians used mail or scale armor covering the entire
body long before the end of the European Dark Ages, when mail seems to have
become standard. Ammianus Marcellinus, who accompanied the ill-fated miHtary
expedition of Julian the Apostate (361-363 A.D.), reported "the Persians opposed
to us seried bands of mail-clad horsemen in such close order that the gleam of the
moving bodies covered with closely fitted plates of iron dazzled the eyes of those
who looked upon them, while the whole throng of horses was protected by
coverings of leather."

The Sasanians intermittently fought the Empires that ruled the West: first
the Romans and later the Byzantines, one of the principal prizes being the rich
towns of Syria that were inhabited by able craftsmen and engineers. Shapur I
(241-279 B.C.) brought a large number of captives from the West, whom he
employed in great projects of road and bridge construction and probably also in
the grandiose irrigation projects which were undertaken during his dynasty.

Rock rehefs, the largest surviving works of Sasanian art, and the mosaics also
show Western, or Roman, influence in the reign of Shapm: I. Far from merely pro-
ducing a barbarized version of Roman style, however, the artists working for
the Sasanian rulers created a distinctive style of their own, usually recognizable
by rounded forms of human and animal figures that often seem as if blown up
from within. These forms are set off by fluttering bands and by diverse shapes
filled with varying small-figured patterns.

THIRTY-ONE
 Among many of which
the finest works of Sasanian art are the silver dishes,
show a king hunting. The crown worn by each king, known from his
distinctive
coinage, makes it possible to ascribe most of these dishes to specific kings, though
the identifications are sometimes not as certain as one would like them to be. In
No. 484 the case of the beautiful silver dish from Sari, on exhibit here, the mounted
archer does not wear a headdress known from any of the coins but has the har-
ness-like jeweled bands on his breast which are usually worn by a king. He may,
therefore, be a member of the king's family; it has been suggested that he is the
son of Shapur II (310-379 B.C.), but he may also be one of the princes of the rich
Mazanderan region, the province neighboring Gilan where centuries earlier
princes had accumulated the gold treasures which were buried with them in
Marlik.

In the design of this dish the composition is quite abstract but gives the

impression of a natural scene. Balance between the fleeing horse and the archer
shooting at his quarry is achieved by turning the archer in the opposite direction
from his mount. The pair of rider and horse are decoratively framed by the two
renderings of what was surely meant to be one lion, furiously rearingup with
his back to the horseman and biting his own paw in his death throes beneath the
horse. The detail in the patterned surfaces of the bowl is delightful to observe,
especially the light drapery surrounding the rider and the smooth patterns on the
bodies of the lions.

The horse has a crenelated mane, which points toward Central Asiatic
influences. These were present in various forms throughout the Sasanian period.
Sasanian influence reached far to the north and to the east, and in turn goods and
ideas from distant places like India and Central Asia penetrated into Persia.

The use of richly decorated vessels of precious metal, probably not only by
No. 485 the king but also by the wealthy lords of the Empire, is exemplified here by a
silver vase probably found in a metal box together with other silver vases, dishes
and Sasanian silks.

Very few of these silks have been preserved but Sasanian patterns continued
to be woven by Byzantine and Syrian weavers long after the fall of the Empire.
Byzantine and Syrian textiles with patterns derived from Sasanian prototypes
reached Europe as wrappings for relics brought from the Near East. Such textiles
were one of the principal means of diffusion for the motifs created by the art of
ancient Iran.

Edith Porada
Columbia University

THIRTY-TWO
 IRAN UNDER ISLAM
The Transition Period {Mid-Seventh to Ninth Century)

In 633 A.D. the Arab armies, united under the banner of Islam, started
to attack Mesopotamia, the western region of the Sasanian Empire. This led
eventually to a number of battles and campaigns which, in 651, ended with the
death of the fugitive last Sasanian ruler, Yazdagird III, in the eastern part of his
vanquished realm. With this vanished the glory of an independent, self-rehant
Iran, at least for some time, since the new regions were now ruled by Arab gov-
ernors, appointed by the cahphs in Damascus and after 766 by those in Bagh-
first

dad. Although there was probably no severe rehgious coercion, we can never-
tiieless assume that the conquest must have produced a kind of traumatic con-
dition. There remained, however, enough pockets of national consciousness so
that old Persian traditions in Sasanian style continued, especially in the coinage
and metal work. The bronze pieces are more conservative and preserved their No. 529
shapes and simple surface decorations, while in the case of the silver vessels one
often finds a more limited or somewhat debased iconography. But the persistence
of the Sasanian shapes and designs is astonishing and speaks for the loyalty to the
old national tradition.

Otherwise, Iran was clearly influenced by the arts of Iraq and of the
cahphal residence in Baghdad, in that works of art were directly imported from
there or that the fashion of the capital was transferred to Iran by itinerant
artisans or imitated by Foremost among these influences from
local craftsmen.
the West was that exercised by beautifully executed copies of the Koran, which Nos. 526-528
up to about 900 were \vritten throughout the cahphate in bold hand on parch-
ment, with no decoration except for illuminated verse endings, chapter headings,
and in special cases full-page ornamental frontispieces.

The earHest pottery vessels indicate that the artisans had not yet dis-
covered the possibilities of a medium that in the Sasanian period had occupied
a very low position in the artistic scale of things. At first they slavishly imitated
metal objects, in particular small gold trays with repousse decoration. Other
wares, however, indicate that the influence of polychrome pottery imported No. 530
from China had aroused an interest in the possibihties of coloristic effects. These
Far Eastern wares of the Tang period were soon locally copied. However,
the usual color splashes of green, light brown, and occasionally of purple on a
white ground were soon combined with patterns incised in the white clay coating Nos. 536-538
or engobe (the so-called graffito technique). This not only was the first mani-
festation of lively colors in pottery production, but also introduced for the first
time a twofold system of decoration the two elements of which were soon made
to harmonize. From this period we also have the first combination of blue and
white in pottery, which owing to its esthetic effectiveness was to become a world- Nos. 531-533
wide success from China to Europe and even the New World. This newly
aroused delight in bright pigments and Hvely designs was eventually to lead
Iranian ceramic achievement to the pinnacle of the craft.

THERTY-THEEE
 The Satuanid, Buvayhid and Ghaznavid Periods {Tenth to the First
Half of the Eleventh Century)

The first revival of the Iranian traditions was due to the rise of a native
Iranian dynasty, the Samanids; at tlieir court in Eastern Iran the first flowering
of a truly Iranian art in the Islamic Period took place (892-999). Characteris-
tically enough, it was no longer the gold- and silversmith who produced there
the finest objects but tlie potter and the glass cutter Some of the ceramic pieces
imitated in spirit, if not in subject matter, the courtly themes of the grand seigneur
Nos. 547-548 so magnificently developed at the Sasanian Court. Several bowls illustrate certain
pastimes of that feudal age, such as a large, tenth-century platter (discovered
during the Metropolitan Museum of Arts excavations at the great East Iranian
capital of Nishapur) showing a horseman setting out for a hunt with a cheetah.
All the bowls are executed in a crowded, often disjointed style, since due to
centuries of retarded artistic activity and the new demands of the medium, the
craftsmen had not yet developed an accomplished style; hence, the various
Nos. 549, 552, figures often seem crude, even distorted, although these early wares have the
557 appeal of primitive art. Other pieces try to imitate with locally available clay
Nos. 545, 546 pigments the style and pattern developed in the luster technique of Iraq.
However, the true glory of this first Iranian renaissance are the pieces
of pottery that owe nothing to age or a diflFerent region but explore
an earlier
imaginatively the possibilities of the medium. Outstanding among the vessels
Nos. 563-571 are those decorated with proverbs in the bold Arabic script; the v^o-iting is in deep,
shiny black letters, though the black characters are sometimes mixed with red
ones. In certain instances, waiting represents the only decoration, while in
others calligraphic inscription is artfully contrasted with a central design. But
even in the most ambitious objects the lettering is kept chaste and unadorned;
No. 564 indeed, the artist made sure that nothing would interfere vdth its purity by fram-
ing it with an undecorated zone.

Other pieces use Arabic lettering with no intention to carry a message.

No. 574 The applied solely for decorative eflFect and achieve this with great
letters are

No. 555 success. Still other objects show strapwork of a geometric nature, or interlaced
motifs, thereby introducing yet other ornamental patterns. These motifs— together
with the bold floral and aheady-mentioned epigraphic designs— were often used
alone or in combination, as they were eminently suited to the needs of the
Islamic world. In this respect it should be recalled that due to official Muslim
rehgious edicts, the artists had officially to do without figural patterns, even
though this injunction was not taken seriously all the time. From this period
we also have simpler pieces that were definitely not made for wealthy patrons
but for the middle-class population in the cities and, at times, even for the people
Nos. 559-562 in the country. But these pieces, too, were colorful, and it seems significant that
576-581 here the age-old Iranian tradition of depicting animals was effectively continued.

The other outstanding medium is glass; the finest examples have designs
cut by means of a wheel, even though, in this instance, the artists continued a
Sasanian technique. The designs that make the pattern stand out in high relief,

achieved by grinding away the background, cutting on various levels, ingeniously

Nos. 602-608 applying abstract patterns to variously shaped vessels— all place these cut glass

THIRTY-FOXJB
pieces on the level of carved semiprecious stones, like rock crystal or turquoise;
indeed in their virtuosity, they appear to us even today as technological marvels.

A Iran— namely the western parts under the rule of

different region of
another historically important Iranian dynasty, the Buvayhids (933-1055)— was
possibly the origin of a number of gold and silver objects belonging to a now Nos. 612,613
very rare medium, since the products of the gold- and silversmiths were frequently
melted down in the sometimes unhappy history of Iran. One diamond-shaped
pendant of the eleventh century shows the use of the repousse and fihgree tech- No. 612
nique for an ensemble in which highly stylized birds and Kufic inscriptions form
the major elements. The gold pommel of a sword hilt found in Gilan is probably No. 616
of a slightly later period. It recalls the famous gold cup of Kalardasht of 1200-
1000 B.C. in which, in a similar fashion, three lions are rendered on the round No. 21
surface of a vessel with their fully sculpted heads boldly projecting. This part of
a sword hilt was possibly once crowned by a piece of rock crystal. Yet another
shape and manner of application, the rehef decoration of animals here combined No. 613
with granulation and niello work, is represented by a gold bracelet found in
Gurgan.

A silver plate and ewer (two of a treasure of seven pieces) constitute an

entirely different group; their dark, nielloed inscriptions give the name of an
otherwise unknown prince who called himself a "Client of the Commander of the Nos. 609, 610
Faithful," that is, the Caliph in Baghdad. As in the pottery vessels of Nishapur,
writing is here again the sole, perfectly suflBcient decoration, but now the letters,
unlike those on the East Iranian ceramic examples, reveal a greater preference for
curvilinear connections and final flourishes; even more important, the letters
sometimes carry foliated endings. These simple embellishments and more
elaborate floral features or braided forms, which were to appear in the following
|
centuries, are in their abstract way fully compatible with the Islamic way of f

thinking. They therefore became increasingly popular as an ornamental feature |«

in the decorative arts. IJ

The kingdom Samanids was superseded by that of the Ghaznavids,

of the I

whose first ruler, Mahmud

of Ghazni* (999-1030) is famous because of his
campaigns in India and because the epic of Iran, the Shah-nameh, was dedi-
cated to him by its author, Ferdowsi. It may be assumed that many of the styles
developed by the Samanids were continued under the new dynasty, although we
are not yet able to distinguish, for instance, the changes in the ceramic wares.
Here the earlier French and the present Italian excavations undertaken at their
ancient capitals of Lashkari Bazar and Ghazni wiU undoubtedly help our under-
standing of this important period.

The Seljuk Period {1038-Ca. 1225)

In the second quarter of the eleventh century, Iran was invaded by Turks
from Central Asia whose ancestor had been a tribal leader called Seljuk, His
descendants first reigned over the whole of Iran, but then their dominion split
up into smaller principalities, until these rulers were swept away about two

Now in Afghanistan.

THIRTY-FIVE
 hundred years later under the impact of successive waves of invading Mongols
under the ferocious Genghis Khan and members of his family. The Seljuk period
was one of political and economic stability under the nominal overlordship of
the caliphs of Baghdad; this led to perhaps the finest flowering of all the arts.
By now, the art of the book and especially of the Koran had developed a speci-
fically Persian idiom, as shown by the angular type of script and the elegant

No. 614 floral decoration in reddish gold on yellow gold applied to tlie now commonly

used paper.
This period's vast wealth of imagination and its great manual skill, how-
ever, probably best demonstrated by the pottery production, where practically
is

every possible technique was used to its best advantage. Although there exist
many pieces that appeal to us primarily on account of a beautifuUy colored
Nos. 639-644 monochrome it was rather
glaze, usually turquoise green, cobalt blue, or white,
the fanciful decoration applied under, in, or over the glaze thatwas the artist's
main concern. This decoration can be rather simple and straightforward, as on
Nos. 631-633 the pieces with graffito design, which make a more provincial, even rustic im-
pression. Most of the others, however, are of sophisticated nature.

No. 639 On the earliest pieces of this period appear highly styhzed animals on
floralground that have, in spite of their intrinsically flat treatment, a monumental
or even sculptural quality. Other pieces reveal great finesse, for instance, those
Nos. 646-652 in which little birds, flowers, and inscription bands in black and blue are com-
bined in different ways on a brilliantly white ground. They date from the first
decades of the thirteenth century and are just one type of the large and varied
Nos. 661-663 pottery production of the great ceramic center of Kashan in Central Iran.

For other objects the craftsmen working in this locality used designs ex-
Nos. 662, 663 ecuted in golden luster to decorate the white surfaces. In spite of the wide range
of shapes, it is here, more than in any other ware, that the richness of minute
design captivates the eye. These pieces might seem elaborate in their pattern,
and costly on acount of their valuable material and difficult technique— yet other
No. 655 works may be considered just as de luxe, such as the double-walled ewer whose
outer shell is made of a reticulated guilloche design that envelopes the whole like
delicate lacework. For other objects, the skill of the miniaturists (whose real
work on paper is almost lost to us ) has been called upon to depict the enthroned
ruler, the prince hunting with his falcon, or other pastimes and pleasures of the
princely court. The artists performed this work with elegance and an adroit
manipulation of colors that contrast vividly with pieces showing similar themes
painted on the pottery of the Samanid period. In the late twelfth or early thir-
Nos. 645, 657 teenth centuries, even ceramic sculpture was made, a very rare undertaking in the
658 Islamic world which, in strict interpretation of the religious laws frowned on any-
No. 645 thing that smacked of idols. Such a negative attitude is, however, not apparent
when one is confronted with the figure of a portly, blue-glazed elephant with its
riders, or of a boldly standing, crested bird, possibly the hoopoe, the winged mes-
No. 657 senger in the Muslim legends of King Solomon and the Queen of Sheba.

This period also explored further possibilities in the field of glassmaking.

The objects are now more elegant and attenuated than in the ninth or tenth cen-
No. 672 tury, and it is at this time, too, that the craftsmen tried their hands at creating
No. 684 polychromatic effects by applying threads of different colors. The variety of

THIRTY-SIX
possible shapes and applications is demonstrated by a sculpturally con-
clearly
ceived piece in the form of a little quadruped carrying two unguentaria, pos- No. 673
sibly to be used for kohl and another cosmetic.

Compared with the hthe shapes of pottery and glass vessels, the products
of the metalworker in this period seem rather heavy, though they undoubtedly
achieve a monumentahty. The craftsmen were eagerto apply a wide repertory of
decorative motifs to the surfaces of the molded or beaten pieces. For ex-
ample, an object as utilitarian as a mortar could receive a variety of decorations.
Perhaps the most resplendent surviving piece of metalwork is one of these mor-
tars; on it, httle sculpturally-treated musicians— derived from the iconographic No. 626
repertory of the royal court—seem ready to accompany the pounding rhythms
of the pestle.

In the eleventh and twelfth centuries the favorite technique of applying

the designs was chasing. Varying combinations of inscriptions in different styles
and animals thus
of writing, floral scrolls, interlacings, geometric configurations,
form part of often large compositions. Such ornamental schemes are even to be
found on the figures of a bronze bird and a bronze Hon, both of which served as
incense burners. These particular figures are valid proof, if this should be need- Nos. 621, 622
ed, of how the Iranian artist in the Islamic period continued to show his un-
canny understanding of the character of an animal and his ability to give it a
highly stylized and yet esthetically appealing form. Possibly at no time has the
artist gone further in his quest for styHzation than in these pieces, but here also
the character of the animal can very quickly be grasped in spite of the totally dif-
ferent, even contradictory nature of the pierced surface design, which was born
of a functional necessity.

From the middle of the twelfth century on, the inlaying into bronze or
brass of copper and silver, of silver and gold, or of silver alone— often v^dth a
contrasting black substance in the background— became the great fashion at
princely courts and in urban homes. The compositions executed in this fashion
in Herat and the other great cities of Khorasan far surpassed the chased designs.
In medieval Iranian art they probably form the most intricate ensembles with
the richest associations. Here the figural elements are very conspicuous; they Nos. 628, 629
deal particularly with royal and astrological themes, although due to the influence
of the mercantile class, genre scenes also made their entry. Ewers, basins, trays,
and candlesticks were the favorite objects to which the craftsmen applied these
complex and highly imaginative designs.

From this period came also fine pieces of gold jewelry, such as richly-
worked necklaces, bracelets, and earrings. They are distinguished by fihgree,
granulation, and niello work, as well as by small gold beads, many of the beads Nos. 617-619
forming reticulated patterns. In addition, precious stones, glass beads, and gold
coins were used for the necklaces. The exact order of the various elements often
can no longer be established, and their present-day combination is due mostly to
the efforts of Tehran art dealers. It speaks for the decorative wealth of these
pieces that the inside of the links of the bracelets, for instance, show elaborate
niello decoration, although these parts are all but invisible.

THIRTY-SEVEN
 The Mongol and Timurid Periods {Ca. 1225-1500)

The Mongol invasions that led to the unheard of destruction of cities and
the slaughter of untold numbers must have been a profound shock. The resil-

ience of the population and the ability to continue even in adversity, however,
are brought out most clearly by the arts of the second half of the thirteenth
century. Tlie densely-covered, well-executed designs on a group of inlaid bronzes
give hardly any indication of the catastrophe or of a deterioration of style and
Nos. 6S8, 6S9 technique. One of these pieces— a ewer for a Turkish prince, which goes to-
gether with a basin by the same artist, AH b. Hamud al-Mawsih— is dated 1274,
well after the Mongol conquest. At that time the making of metal-inlaid bronze
objects was an international craft, since the originally Iranian technique and
patterns had been brought to Mosul on the Tigris by the metal workers fleeing
from Khorasan and then from there to Syria and Egypt. Although the pattern
varied in the different regions, the royal theme of the ruler and his pastimes,
first established in Iran, continued throughout the whole Near East. However,
the influx of Far Eastern art objects and artists at the Mongol court had also
brought into Persian art a few new motifs— such as the lotus and the phoenix—
which from then on were found in many media.

In contrast to metal work, pottery reveals a much stronger Far Eastern

influence. The colorful glazes of the twelfth and early thirteenth century turn
to favorite themes are now
muted grays vdth just a little blue or green, and the
Mongolian court oflBcials or animals bom of Far Eastern imagination. Soon the
import of Far Eastern porcelains, especially the blue-and-white variety, set a new
Nos. 704-706 fashion and induced the Persian potter of the fifteenth to the seventeenth cen-
tury to indulge in various forms of chinoiseries.

After an abortiveinitial attempt to make Islam the state religion of Iran

in 1282, Ghazan, the then-ruling Mongol, took this important step successfully in
1295; after this momentous event the complete adaptation of Iranian culture by
the Mongols was only a question of time. Indeed, already in the early fourteenth
century, the large, sumptuously executed Koran manuscripts give evidence of the
fervor for the newly acquired religion, and indicate how the artists of that period
Nos. 685, 686 were able to instill a bold, new manner in the traditional forms of book illumina-
tion. In the course of the fourteenth century and even more in the fifteenth
No. 695 and sixteenth centuries, these forms become more deBcate and refined, and
whatever there was of limited coloristic effects is now turned mainly into an
interplay of richly executed units of gold and blue, the latter made from finely
powdered lapis lazuli. The great prestige of the Koran is indicated by three
No. 694 calligraphically written lines from a giant Koran written in rayhani script by
Prince Baysonghor (died 1433), grandson of the great Tamerlane, the Central
Asian ruler who conquered Persia, Turkey, Russia, and northern India and died
when he was just setting out to subdue China. The unadorned lines of writing in
thisKoran show the complete control of the pen and a deep understanding for
the proportions of the various letters and the contrast between the straight, in-
cUned, and curved elements.

The fifteenth century is the period when the art of miniature painting
perhaps reached its greatest elegance, as by that time the Far Eastern elements

THIRTY-EIGHT
459. SgUARE PLAQUE Ol
EGYPTIAN BLUE.
5th c. B.C.

TIIIRTV-NINE
 440. POTTERY RAM-HEAD RYTHON. Late 8th-7th c. B.C.

442. PAIXTED POTTERY HORSE. 7th-6th c. B.C.

FORTY
485. SILVER VASE. 6th c.

lORTY-ONE
 ()57. i'()rii;in iiooroi;. i'.wiIn luh v.

671. TUROUOISE l'(yi I EHY BOTTLE. Eailv 13th c.

FOniY-TWO
669. POTTERY BO\\ L WITH POLVCIIUOME 0\EU(;LAZK PAINTING.
E;nlv 1.3th c.

FORTY-THREE
 622. BRONZE LION INCENSE BURNER. 12th c.

FOm Y-F0UR
brought in by the Mongol court had been successfully integrated and developed
into a sumptuous, colorful court art. The Imperial Collection in the Golestan
Palace is one of the richest assemblies of such manuscripts and paintings any-
where, but the museum in Tehran has comparatively few of these treasures as it
is more archeologically oriented. However, one group of paintings of the middle
of the fifteenth century gives delightful evidence of the romantic mood of the Nos. 696-699
period, with its enjoyment of amatory scenes and stories of unrequited love set
in beautifully appointed palace gardens or neatly dressed-up landscapes.

Safavid Period (Early Sixteenth to Early Eighteenth Century)

Of the Safavid period only a few objects are displayed in the exhibition.
The examples shown, however, give evidence of the continued artistic imagina-
tion and undiminished skill of the craftsmen. In the sixteenth and early seven-
teenth centuries, the weaver was strongly influenced by the painter of figural
and heroic scenes, while later on large single figures of
subjects; first of romantic
young men and women in a stylized landscape prevail. These patterns gave way No. 710
to delicate designs of blooming shrubs or flowers, often combined with a night-
ingale or a butterfly— all motifs with strong literary connotations. No. 709

Artists of the book were also responsible for a change in carpet design,
which from the first part of the sixteenth century, featured the medallion scheme
in an arabesque or developed by book binders and illuminators in
floral setting
previous centuries. Occasionally there are also motifs that must have come from
the pen of artists who had achieved great prominence in figural design. How-
ever, most of the surviving ancient Persian carpets are those that in former cen-
turies were sent as gifts by the shahs of Iran to the princely houses of Europe
or had long ago come to Europe by commercial ways. Comparatively few old
pieces are nowadays in Iran, where, with the exception of carpets in or from
sacred shrines, most of these floor coverings have been worn out by use and other
ravages of time. But the handsome example that is included in the exhibition
gives at least some inkling of the rich coloring, complex design, and superbly No. 712
drawn detail found in these artistic products of Iran, which in the West have
always been highly prized. Esthetically, they well deserve this age-old reputation,
as they are the most ingeniously and imaginatively composed art objects of the
country, surpassing even the inlaid metal pieces of the thirteenth century by their
wider and warmer color range and the hidden three-dimensional arrangement
of their patterns.

In the first half of the sixteenth century, miniature painters continued to ex-
plore the artistic possibilities of the styles developed by their Timurid predeces-
sors. In the middle of the sixteenth century, however, a great change took place.
Instead of creating complex and colorful compositions with many figures to illus-
trate literary passages, the artists now preferred studies of just one or two figures
independent of any everyday scenes executed as line drawings. Finally,
text, or

at the end two new manners were combined, and we

of the sixteenth century, the
find dehcately executed line drawings of one or two figures in a minimum of land- No. 700
scape background. In these drawings the century-long tradition of calligraphic

FORTY-FIVE
 writing made itself felt in the swelling and diminishing width of outlines that
not only marked the contours of the figures but also were capable of indicating
their volume.

Zand and Qajar Periods ( Middle of the Eighteenth to End of the Nine-
teenth Century)

We have only recently become aware of the special qualities of this last
flowering of the traditional arts of Iran. As in all the preceding periods, this
was primarily an art of the court, now in Tehran, and indeed the large portraits
of the king, his sons, courtiers, and most of all, of his doe-eyed, heavily-jeweled
Nos. 717-719 women dancers and musicians represent its glory, especially during the reign of
the black-bearded Fath Ali Shah ( 1798-1834). Here we also witness a new blend
of native Persian and Western elements, the latter possibly introduced via Georgia
in the north. In the hands of the very best artists such as Abu'l-Hasan Ghaffari,
Sani al-Mulk (middle of the nineteenth century) one can find the same psycho-
Nos. 720-725 we find in the very best
logical insight into tlie specific character of a sitter that
portraits of theWest, from Holbein through Goya. In these paintings the Persian
artist could never forego his pleasure in decorative elements, whether in a coat,
a dagger, or a brooch worn by the sitter. How colorful this period must have
No. 737 been is clearly shown by a court coat with a flowered pattern, whose long dan-
gling sleeves must have given a note of sophistication to the original wearer. The
No. 726 wealth of that period is also shown by objects such as a small gold enameled box
No. 727 containing a miniature Koran to be worn as an amulet, an agate spoon in a pre-
cious mounting, or by the many painted and lacquered pen boxes and similarly
Nos 728-734
. decorated chests, doors, and mirror frames.

These then are the traditional arts of Iran across an almost unbelievable
range of 7,000 years. Varied as these many art forms and artistic expressions are,
the preference for certain media, the many recurring themes, and the closeness to
nature in spite of all stylization, give the whole a strongly felt unity without a
break or a jarring note. These arts are a brilliant testimony to the vitality and
resilience of a nation that, in spite of its more than usual share of invasions, pil-
lage, and other hardships, always rose again to cheer its people and the whole
world with the undying beauty of its art.

Richard Ettinghausen
Freer Gallery of Art

FORTY-SIX
 Art of Iran from the Prehistoric to the Sasanian Period

BIBLIOGRAPHY
Bibliographies, Journals Hasanlu: the Gold Bowl
Vanden Berghe, L. Archeologie de I' Iran ancien. Lei- Anon. "The Secrets of a Golden Bowl," Life, Jan. 12,
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I. London, 1963. The Illustrated London News, Feb. 13, 1960,

Iranica Antiqua, MIL 1961-1963. 250-251.
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Ghirshman, Roman. Iran, From the Earliest Times to Negahban, E. O. "The Wonderful Gold Treasure of
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premieres campagnes de fouille a Tureng Tepe,"
Art and Archeology of the Syria XL, 1-2, 1963. 85-99.
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a. General Presentation Elamite Art
Dyson, Robert H. Jr. "The Relative Stratigraphy and Relevant sections in the reports of the French
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Old World Archaeology. R. W. Ehrich, ed. (to Memoires de la delegation en Perse I-XXXVI, 1900-
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den Berghe, L., Archeologie de I'Irdn ancien, Lei-
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den, 1959, 166-171).
Hasanlu: the Excavations 1959, 166-171).
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1958," Expedition 1. Spring, 1959, 4-17. Tchoga-Zanbil in Arts Asiatiques: I, 1954, 83-95;
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FORTY-SEVEN
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Aniiet, P. "Lcs Bronzes du Luristan de la collection of Art, X/8, 1951-52, 233-240.
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Dossin, Georges. "Bronzes Inscrits du Luristan do la Metropolitan Museum of Art XIII/7, 213-224.
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149-164. Metropolitan Museum of Art XV/1, 1956-57, 9-15.
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(Ars Asiatica, XVII). tin of the Metropolitan Museum of Art XXI/8,

. and Godard, Yedda. Bronzes du Luristan, 1962-63, 274-284.
Collection E. Graeffe. The Hague, 1954.
Hangar, Franz. "Kaukasus-Luristan," Eurasia Scpten- Median Art
tritmalis At^tiqua IX. 1934, 47-112. Bamett, R. D. "Median Art," Iranica Antiqua 11/ 1.
Legrain, Leon. "Luristan Bronzes in the University 1962, 77-95.
Museum," Catalogue Supplement Nwjiber I of
the Museum Journal, Pliiladelphia, 1934. Achaemenid Art
Potratz, H. "Das 'Kampfmotiv' in der Luristankunst," a. General Introduction
Orientalia, N.S. XXI. 1952, 13-36.
Frankfort, Henri. The Art and Architecture of the
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Ancient Orient, 2nd ed., Harmondsworth. 1958,
kunst," Jahrbuch fiir kleirmsiatische Forschung 213-233.
III/l. Ankara. 1955, 19-42.
Schaeffcr, Claude F. Stratigraphie comparee et chrono- b. Architecture
logic de I'Asie occidentale, Ille et lie Millen- Barnctt, R. D. "Persepolis," Iraq XIX. 1957, 55-77.
aires. London, 1948, 477-495. Erdmann, Kurt. Das Iranische Feuerheiligtum, 11.
Schmidt, Erich F. "The Second Holmes Expedition Leipzig, 1941.
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for Iranian Art and Archaeology V. 1938, 205-
216.
c. Sculpture
Frankfort, Henri. "Achaemenian Sculpture," Ameri-
Vanden Berghe, L. Archeologie de ITran ancien, 177-
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187 (Comprehensive bibliography).
Richter, Gisela M.A. "Greeks in Persia," American
Journal of Archaeology, 50/1. 1946, 15-30.
The Treasure of Ziwiye
d. Metalwork
o. The Treasure
Amandry, P. "Orfevrerie achemenide," Antike Kunst
Godard, Andr6. Le Tresor de Ziwiyd (Kurdistan). I/l. 1958, 9-23; II/2. 1959, 38-56.
Haarlem, 1950.
Dalton, Ormonde M. The Treasure of the Oxus, witJi
Other Examples of Early Oriental Metalwork,
b. Commentaries and Additional Finds: 2nd ed. London. 1926.
Bamett, R. D. "The Treasiu-e of Ziwiye," Iraq XVIII. Kantor, Helene J. "Oriental Institute Museum Notes,
1956, 111-116. No. Achaemenid Jewelry in the Oriental In-
8:
Dyson, Robert H. "Archaeological Scrap: Glimpses stitute," Journal of Near Eastern Studies, XVI.
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of History at Ziwive," Expedition V/3. Spring, 1957, 1-23.
1963, 32-37. Terrace, E.L.B. "Two Achaemenian Objects in the
Falkner, M. "Der Schatz von Archiv
Ziwije," fiir
Boston Museum of Fine Arts," Antike Kunst VI/2.
Orientforschung XVI. Berlin. 1952, 129-132. 1963, 72-80.

Ghirshman, Roman. "Notes Iraniennes IV; Le Tresor Wilkinson, Charles K. "Assyrian and Persian Art ( The
de Sakkez," Artibus Asiae XIII. 1950, 181-206. Art of the Near East)," Bulletin of the Metropoli-
tan Museum of Art XIII/7, 213-224.
Godard, Andre. "A propos du tresor de Ziwiye," Arti-
bus Asiae XIV. 1951, 240-245. . "An Achaemenian Bronze Head," Bulletin
of the Metropolitan Museum of Art XV/3, 72-78.
Kantor, Helene J. "Goldwork and Ornaments from
Iran,"Cindnnflfi Art Museum Bulletin V/2. Oct.
1957, 9-20.
Parthian Art
. "Oriental Institute Museum Notes, No. 11; Godard, Andre. "Les Statues parthes de Shami,"
A Fragment of a Gold Applique from Ziwiye Athdr-e Iran II. 1937, 285-305.
and Some Remarks on the Artistic Traditions of Homes-Fredericq, D. Hatra et ses sculptures parthes,
Armenia and Iran During the Early First Millen- Nederlands H'istorisch-Archaeologisch Instituut
ninum B.C.," Journal of Near Eastern Studies te Istanbul XV, 1963.
XIX. 1960, 1-14. Seyrig, Henri. "La Grande statue partlie de Shami et
Wilkinson, Charles K. "More Details on Ziwiye," la sculpture palmyrenienne," Syria XX. 1939, 177-
Iraq XXII. 1960, 213-220. 181.

forty-eight
Sasanian Art Erdmann, Kurt. "Die sasanidischen Jagdschalen.
Untersunchung zur Entwicklungsgeschichte der
a. General. Introduction iranischen Edelmetallkunst unter den Sasaniden,"
Jahrhuch der preuszischen Kunstsammlungen 57.
Erdmann, Kurt. Die Kunst Iran zur Zeit der Sasan-
1936, 193-232.
iden. Berlin. 1943.
"Die
. Entwicklung der Sasanidischen "Zur Chronologic der sasanidischen 'Jagd-
Krone," Ars Islamica XV-XVI. 1951, 87-123. schalen',"Zeitschrift der Deutschen Morgen-
Idndischen Gesellschaft 97/2. 1943, 239-283.
b. Archiieciure and Stuccoes Fajans, Salomea. "Recent Russian Literature on New-
ly Found Middle Eastern Metal Vessels," Ars
Ghirshman, Roman Bichdpour II, Les Mosaignes sas-
sanides. Paris, 1956, 149-160. Orientalis II. 1957, 55-76.

Lenzen, H. Chronologic der sasan-

"Ziu: relativen
Ghirshman, Roman. "Notes iraniennes V, scenes de
J.
idischen Stuckarbcitcn," Archeologischer Anzei- banquet sur I'argenterie sassanide," Artibus Asiae
ger. 1952, cols. 188-22.
XVI. 1953, 51-76.
Wachsmuth, F. Der Raum I: Raumschopfungen in der
. "Argenterie d'un seigneur sassanide," Ars.
Orientalis II. 1957, 77-82.
Kunst Vorderasiens. Marbvirg. 1929, 138-156.
Hasldns, John H. "Northern Origins of 'Sasanian'
c. Silks Metalwork," Artibus Asiae XV. 1952, 241-267;
324-347.
Day, Florence E. "Silks of the Near East," Bulletin of
the Metropolitan Museum of Art. IX, 108-117.
Oliver-Harper, Prudence. "The Senmurw," Bulletin
of the Metropolitan Museum of Art XX. Nov.
Review of A. C. Weibel,
. Two Thousand
1961, 95-101.
Years of Textiles: the Figured Textiles of Europe
and the Near East. New York, 1952, in Ars Orbeli, J. Sasanian and Early Islamic Metalwork,
Orientalis I. 1954, 232-245. Survey of Persian Art. I, 716-770.

Weibel, Adele C. Two Thousand Years of Textiles; . and Trever, C. Orfevrerie sassanide. Mos-
the Figured Textiles of Europe and the Near cow, Leningrad, 1935.
East. New York, 1952, 37-39. Smirnoff, lakov I. Vostochnoe Sercbro (Oriental sil-

Dimand, Maurice S. "A Review of Sasanian and Is- ver). St. Petersburg, 1909.
lamic Metalwork in A Survey of Persian Art," Trever, Camilla K. Nouveaux plats sasanides de
Ars Islamica VIII. 1941, 192-195. VErmitage. Moscow-Leningrad, 1937.

forty-nine
 Art of the Islamic Period

BIBLIOGRAPHY
Bibliographies, Journals The Chester Beatty Library. A Catalogue of the Per-
sian Manuscripts and Miniatures. Dublin.
CrcsNvoll, K. A. C. A Bibliography of the Architecture,
I: by A. Arberry, M. Minovi, E. Blochet;
J.
Arts and Crafts of Islam to 1st Januanj, 1960.
J. V. S. Wilkinson, ed.; 1959.
Cairo, 196L
II: by M. Minovi, B. W. Robinson, J. V. S.
Athdr-S-Irdn. AnnaJes du Service ArchSologique de
Wilkinson, E. Blochet; A. J. Arberry, ed.;
I'lran. I-IV. 1936-1949.
1960.
Ars Islamica. I-XVI. 1934-1951.
Ill: by A. J. Arberry, B. W. Robinson, E. Blo-
Ars Orientdis, I-V. 1954-1963.
chet, J. V. S. Wilkinson; A. J. Arberry, ed.;
Kiinst des Orients, Wiesbaden. 1950-1963.
1962.
Binyon, Laurence. The Poems of Nizami. London,
General Presentations 1928.
Aus der Welt der Islamischen Kunst; Festschrift fiir . Wilkinson, J. V. S.,and Gray, Basil. Per-
Ernst Kiihnel zum 75, Geburtstag am 26. 10. sian Miniature Painting. London, 1933.
1957. Richard Ettinghausen, ed. Berlin, 1959 Ettinghausen, Richard. Studies in Muslim Iconog-
Dimand, Maurice S.A Handbook of Muhammadan raphy I: The Unicorn. Washington, D. C. (Freer
Art, 3rd ed. New York, 1958. Gallery of Art, Occasional Papers, I, 3), 1950.
Godard, Andre. L' Art de I'Iran. Paris, 1962. Persian Miniatures in the Bernard Beren-
.

Pope, Arthur Upham. A Survey of Persian Art from son Collection. Milan, 1961.
Prehistoric Times to the Present. London- New Gray, Basil. Persian Painting. Geneva, 1961.
York, 1938-39, 6 vols, (re-issue in 12 vols, to ap- . Persian Miniatures from Ancient Manu-
pear in 1964). scripts. New York, 1962.
. Masterpieces of Persian Art. New York, and Godard, Andre. Iran: Persian Minia-
1945. tures —Imperial Library. Greenwich, Conn., 1956.
University of MichiganMuseum of Art. Persian Art Grube, Ernst J. Muslim Miniature Paintings from the
Before and After the Mongol Conquest. Intro- XIII to XIX Century from Collections in the
duction to the exhibition catalogue by Oleg United States. Venice, 1962.
Grabar. Ann Arbor, 1959. Guest, Grace Dunham. Shiraz Painting in the Six-
Wiet, Gaston. L'Exposition persane de 1931. Cairo, teenth Century. Washington, D. C. (Freer Gal-
1933. lery of Art, Oriental Studies, n. 4), 1949.
Pinder-Wilson, R. H. Persian Paintings of the Fif-
Architecture teenth Century. London, n.d.
Robinson, B. W. A
Descriptive Catalogue of the Per-
Friedrich, Sarre. Denkmaler Persischer Baukunst. Ber-
sian Paintings in the Bodleian Library. Oxford,
Un, 1910.
1958.
Wilber, Donald N. The Architecture of Islamic Iran,
Wilkinson, J. V. S. The Shdh-namah of Firdausi; the
the II Khanid Period. Princeton, 1955.
Book of the Persian Kings, with an Introduction
. Persian Gardens and Garden Pavilions. on the Paintings by Laurence Binyon. London,
Rutland, Vt. and Tokyo, 1963. 1931.

The Art of the Book Carpets and Textiles

Aga-Oglu, Mehmet. Persian Bookbindings of the Aga-Oglu, Mehmet. Safawid Rugs and Textiles. The
Fifteenth Century. Ann Arbor, 1935. Collection of the Shrine of Imam 'Ali at al-Najaf.
Qadi Ahmad, son of Mir-Munshi. Calligraphers and New York, 1941.
Painters, trans, by V. Minorsky, (with an intro- Erdmann, Kurt. Oriental Carpets, 2nd revised ed.,
duction by B. N. Zakhoder, trans, by T. Minor- trans, by C. G. ElHs. London, 1960.
sky). Washington, D.C., 1959.
Reath, Nancy Andrews and Sachs, Eleanor B. Per-
Arnold, Sir Thomas W. Bihzdd and His Paintings in sian Textiles and Their Techniques from the
the Zafar-ndmah Ms. London, 1930. Sixth to the Eighteenth Centuries, Including a
Barrett, Douglas. Persian Painting of the Fourteenth System for General Textile Classification. New
Century. London, n.d. Haven, 1937.

FIFTY
Tattersall,C. E. C. Notes on Carpet-Knotting and Erdmann, Kurt. 2000 Jahre Persisches Glass. Aus-
Weaving. London, 1927. stellung im Stddtischen Museum Braunschweig.
Von Bode, W. and Kiihnel, E. Antique Rugs from the Braunschweig, 1963.
Near East, 4th revised ed., trans. C. G. Ellis. Lamm, Carl Johan. Mittelalterliche Gliiser und Stein-
Berlin, 1958. schnittarheiten aus dem Nahen Osten. Berhn,
1929-30, 2 vols.
Ceramics (pottery and tiles) Glass from Iran in the National Museum,
Bahrami, Mehdi. Gurgan Faiences. Cairo, 1949. Stockholm. Stockholm-London, 1935
Freer Gallery of Art, Smithsonian Institution. Medi- OUver, Prudence. "Islamic Relief Cut Glass: a Sug-
eval Near Eastern Ceramics, Richard Ettinghau- gested Chronology," Journal of Glass Studies,
sen, ed. Washington, D. C, 1960. 1961, 9-29.
Guest, Grace D. and Ettinghausen, Richard. "The
Iconography of a Kashan Luster Plate." Ars Metalwork
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Lane, Arthur. Guide to the Collection of Tiles. Lon- Barrett, Douglas. Islamic Metalwork in the British
don, 1939. Museum. London, 1949.
. Early Islamic Pottery, Mesopotamia, Egypt Ettinghausen, Richard. "The Bobrinski 'Kettle,' Patron
and Persia.London, 1947. and Style of an Islamic Bronze." Gazette des
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Turkey. London, 1957. . "The Wade Cup in the Cleveland Museum
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Pezard, Maurice. La Ceramique archaique de V Islam Rice, D. "Studies in Islamic Metalwork, I-VI,"
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et ses origines. Paris, 1920, 2 vols. Bulletin of the School of Oriental and African
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Special Exhibition. Coming, N.Y., 1957. sian). St. Petersburg, 1909.

FIFTY-ONE
 MESOPOTAMIA

HALAF PERIOD

UBAID PERIOD 4000

3750.

WARKA PERIOD 3500 ,

3250.

PROTO-HISTORIC PERIOD 3000

EARLY DYNASTIC PERIOD 2750

2500

AKKAD PERIOD (Ca. 2370-2230 B.C.)

2250

NEO-SUMERIAN AND OLD BABYLONIAN PERIODS 2000 .

Dynasties of Ur (Ca. 2113-2005 B.C.)

Larsa (Ca. 2025-1763 B.C.)
Isin (Ca. 2017-1794 B.C.) 1750 .

Babylon (Ca. 1894-1595 B.C.)

KASSITE RULE MITANNIAN RULE 150O .

IN BABYLONIA IN THE NORTH (Ca. 1600-1350 B.C.)

(Ca. 1600-1150 B.C.)
MIDDLE ASSYRIAN PERIOD
1250 .

(Ca. 1400-900 B.C.)

1000.

NEO-ASSYRIAN PERIOD (Ca. 900-612 B.C.

750.

NEO-BABYLONIAN PERIOD (626-539 B.C.)

ACHAEMENID PERIOD (539-331 B.C.) 500.

SELEUCID PERIOD {312-Ca. 250 B.C.)

PARTHIAN PERIOD (Ca. 250 B.C.-224 A.D.) 250

250
SASANIAN PERIOD (224-642 A.D.)

500.

This chronological chart is based on the chart assembled by

Robert H. Dyson, Jr. for the book Alt Iran by Edith Porada (Baden
Baden. 1962), pp. 244-245. A revision of the dates here given may
be expected from the new edition of Relative Chronologies in
Old World Archeology (R. W. Ehrlich, ed., to be published in 1964).
 IRAN
SOUTH NORTH

SUSIANA CHALCOLITHIC PERIOD

Early Phases SIALK I

Painted Pottery
of Painted
SIALK II
4000 Pottery

3750
SUSA A
Painted Pottery TAL-I-BAKUN SIALK ill HISSAR I Painted Pottery
3500 style "SUSA I"

SUSA B
3250

3000 SUSA C
Urbanization Influence from Susa in SIALK IV
SUSA D Decline of Painted Pottery
2750 Polychronne Pottery GIYAN IV? BRONZE AGE
Style "SUSA II"
Appearance of Burnished Gray Pottery HISSAR II
Royal Tombs (?)

2500

Spread of Gray Pottery, Metalwork

2250

2000 OLD ELAMITE PERIOD

HISSAR III, TURENG TEPE
1750

1500 MIDDLE ELAMITE PERIOD

IRON AGE
Elamite Expansion HASANLU V SIALK A KHURVIN MARLIK
1250 Tchoga Zanbil BUTTON-BASE PERIOD CULTURE

HASANLU IV SIALK B
1000 NEO-ELAMITE PERIOD Gray Pottery in Western Iran
Urartian
Incursions

750

TREASURE OF ZIWIYE MEDIAN ART Scythians in Iran

ACHAEMENID PERIOD
500
SELEUCID PERIOD
PARTHIAN PERIOD
250

250 SASANIAN PERIOD

IRAN UNDER ISLAM
500 WESTERN REGIONS THE WHOLE COUNTRY EASTERN REGIONS
600
700
UMAYYAD CALIPHATE OF DAMASCUS (661-750)
ABBASID CALIPHATE OF BAGHDAD (750-1258)
800
900
SAM AN IDS (892-999)
BUVAYHIDS (933-1055)
1000 GHAZNAVIDS (999-1030)
SELJUKS (1038-Ca. 1225)
1100
1200
MONGOLS (Ca. 1225-1335)
1300
1400 TIMURIDS (1370-1447)
TURKOMANS (1375-1514) TIMURIDS (1447-1506)
1500 SAFAVIDS (1502-1737)
1600
1700
ZAND (1750-1789)
1800
QAJAR (1795-1924)
1900 PAHLAVI (1925-
2000
 Note

The following catalogue is based on Professor Roman Ghirshman's catalogue of the Paris
exliibition, "Sept Mille Ans d* Art en Iran," vvliich was also used for five subsequent European
showings in 1962-63. In addition, it contains 179 entries written by Professor Edith Porada and
Dr. Richard Ettinghausen on the basis of data compiled by Miss Linda Bettman in Tehran for
the objects which had been newly selected from the Archeological Museum by Dr. Ettinghau-
sen.

Professor Porada wiote the introduction for the Pre-Islamic section, revised the catalogue
entries of objects from the Archeological Museum witli which she was familar, and gave her
dates to those items not included in the Paris exhibition. The only change made by her in the
catalogue of tlie Foroughi Collection was an extension of the date of the objects said to have
come from the region southwest of the Caspian, labeled "Amlash" in the catalogue. These are
given in the present catalogue as 12th-6th centuries B.C., since they range from the time of the
Marhk Culture (c. 1200-1000 B.C.) to the Achaemenid Period. The dates of tlie Lm-istan bronzes
have been set somewhat earher: 10th-8di century B.C. Professor Porada also compiled the Pre-
Islamic bibliography.

Dr. Ettinghausen wrote the introduction for the Islamic section and brought the catalogue
entries originally WTitten by Professor Gaston Wiet up to date. He also integrated the entries of
the two collections and compiled the Islamic bibliography.

The following system of notations and abbreviations has been adopted for catalogue en-
tries: C stands for circumference, D for diameter, H for height, W and Wt for
for width,
weight. Measurements are given in both the English and the metric system for easier reference.
Unless B.C. is specified, all dates are understood to be A.D. The accession number of the Arche-
ological Museum immediately follows the credit.

If the object was sho\vn in the European exhibition ( as were some of the museum items
and all but six of the Foroughi loans), a reference to the Paris catalogue appears to the right of
the title. An asterisk indicates that the piece was illustrated. An abbreviated bibhography is in-

cluded for pubhshed items. Short references to the following exhibitions of Iranian art are Hsted:
International Exhibition of Persian Art, Burhngton House, London, 1931; Iran, Musee Cemuschi,
Paris, 1948; Iranian Art, Metropolitan Museum of Art, 1949; and Mostra dArte Iranica, Palazzo
Brancaccio, Rome, 1956.

Due to unforeseen circumstances certain objects were withdrawn after the catalogue went
to press. The numbers remain in the catalogue listing and are marked "withdrawn."

FIFTY-TWO
 CATALOGUE OF THE EXHIBITION
ART OF IRAN FROM THE PREHISTORIC TO THE SASANIAN PERIOD

Painted Pottery of the Early 5. PAINTED POTTERY BOWL ON

Village Cultltres TALL STAND
BuflF ware, red painting. Bowl is deco-
rated with fifteen men doing a chain
1. HIGH POTTERY BEAKER dance. Each highly stylized nude has a
Fine buflF ware decorated in brown paint,
goatee and a hank of hair. Stand has
showing three mountain goats, each in a five registers of holes with concentric cir-
panel, under two rows of storks that en-
cles painted around them.
circle the hp. Flat foot.
Tall-i Jari, Fars.4th mil. B.C.
Susa A. Ca.3500 B.C. H 12i in, D of bowl 7| in, D of base 5 in;
H 91 in, D 5 in; H 24.5 cm, D 12.5 cm H 31 cm, D of bowl 19.5 cm, D of base 12.5 cm
Archeological Museum, Tehran. 412 Archeological Museum, Tehran. 11051
bibliography: bibliography:
S. Lloyd, The Art of the Ancient Near East,
L. Vanden Berghe, Archiologie de I'Iran ancien,
Norwich, 1961, fig. 3. An almost identical ex- Leiden, 1959, pi. 52.
ample is in Paris, Encyclopedie Photo graphique Illustrated
de I'Art, Ed. Tel. I.

2. HIGH POTTERY VASE 6. POTTERY BEAKER

Fine ware painted with brown slip,
buflF BuflFware decorated in black with six
showing five triangular designs and a bearded, long-homed goats with crosses
row of storks encircling the rim. Flat over their backs. Tiny flat foot. Much
foot. restored.
Susa A. Ca.3500 B.C. Sialk III
H 11 in, D 6i in; H 28 cm, D 16.5 cm H 6i D 4| in, base IjV in; H 16 cm,
in,

Archeological Museum, Tehran. 413 hp D

12 cm. Base D 2.7 cm
Archeological Museum, Tehran. 6021
bibliography:
3. CONICAL POTTERY BOWL L. Woolley, The Art of the Middle East, New
Gray ware painted in deep brown with York, 1961, p. 39, ill.
two rams with huge, curling horns; two Illustrated
crosses in horns' circles and two cross-
hatched squares in the open spaces.
Tal-i-Bakun (nr. Persepolis). Mid-4th mU. B.C.
7. POTTERY BEAKER
H 5i in, D 5^ in; H 14 cm, D 14 cm Buff ware decorated in dark brown with
Archeological Museum, Tehran. Persepolis 3 three panels, each containing a deer
bibliography: with many-tined antlers. Tiny flat foot.
R. Ghtrshman, Iran, Harmondsworth, 1954, fig. Sialk III
11. S. Lloyd, The Art of the Ancient Near East, H 6i D
4i in, foot
in, lip If in;D H 16.5 cm,
Norwich, 1961, fig. 3. E. Porada, Ancient Iran, lip D
11.5 cm, foot 3.5 cmD
New York, 1964, (in press). L. Vanden Berghe, Archeological Museum, Tehran. 44
Archiologie de I'Iran ancien, Leiden, 1959, pi. bibliography :

48e. R. Ghirshman, Fouilles de Sialk I, Paris, 1938,

pi. xxi: 1.
4. HIGH CONICAL BEAKER
BuflFware painted in dull black with two 8. FOOTED POTTERY CUP
geometric patterns, each repeated twice.
Buff ware with brov^oi paint. On a
Tal-i-Bakxm (nr. Persepolis). Mid-4th mil. B.C.
checkerboard ring within three panels
H Si in, D41 in; H 20.5 cm, D 11 cm
formed by horizontal brushstrokes,
Archeological Museum, Tehran. Persepolis 2
bibliography: stand a bearded mountain goat with a
L. Vanden Berghe, Archiologie de I'Iran ancien, star between his horns and two animals
Leiden, 1959, pi. 48g. without horns. Foot decorated with short
Illustrated brushstrokes.

FIFTY-THBEE
 Tepe Hissar I. Ca.3500 B.C. body and the legs are of black stone,
H 7i in, D 4^ in;H 18.5 cm, D 11.5 cm with their surfaces imitating the scales of
Archeolofiical Museum, Tehran. 395 serpents. The body is composed of sever-
BlBLiocH/vrnY:
alblack and red stone disks with gold in-
E. F. Schmidt, "Tcpe Hissar Excavations,
cmstations, while the eyes are inlaid
1931," The Museum Journal, XXIII/4, Phila-
delphia, 1933, pi. Lxx.xiiia; Excavations at Tepe
with mica. All parts are held together by
Hissar Damghan, Philadelphia, 1937, pi. 10, a central pin running from bottom to
H. 802. top.
Proto-historic period, Ca.3000 B.C.
9. LARGE POTTERY BOWL H 4J in, W 2J in; H 11.5 cm, W 5.5 cm
Collection Foroughi, Tehran
Deep red with some tone variation. Dec-
Illustrated
orated with twenty-two black, highly
stylized storks in the interior. Exterior
plain, except for a black line around lip.
The Culture of Hissar III
Base slightly concave.
Ismailabad. Early 4th mil. B.C.
H 5i in, D
lOi in; 14 cm, H 26 cm D 13. WHITE MARBLE FIGURE (pis)
Archeological Museum, Tehran. 11040 Highly stylized. Divided knob for
breasts; peg head pierced from top to
back.
Tepe Hissar IIIc. Ca.2000-1700 B.C.
The Early Urban Civilization
H 71 in, 6 W in;H 19.5 cm, W
15 cm
Archeological Museum, Tehran. 375
bibliography:
10. LARGE POTTERY POT E. F. Schmidt, "Tepe Hissar Excavations,
Buff ware with deep-brown paint. On 1931," The Museum
Journal, XXIII/4, Philadel-
shoulder are three comb-animals with phia, 1933, pi. 132, H. 482.
Illustrated
double birds on their backs and one or
two smaller birds above them. A circle
enclosing a star separates each group;
14. ALABASTER POT
Pinkish-ivory color. Long open spout,
below shoulder are waves.
similar to pottery forms. Flat base.
Giyan, 2500 B.C. (level IV)
H 14 in, D lOi in; H 35.5 cm, D 26 cm Tepe Hissar IIIc. Ca.2000 B.C.
Archeological Museum, Tehran, 280
H 6f in, L 12 in; H 17 cm, L 30.5 cm
Archeological Museum, Tehran. 373
bibliography:
bibliography:
G. Contenau and R. Ghirshman, Fouilles du
A. U. Pope, Survey of Persian Art, New York,
TSpe-Giyan, Paris, 1935, pi. 11, lower left.
1939, pi. 20 b. E. F. Schmidt, Excavation at
Tepe Hissar Damghan, Philadelphia, 1937, p.
11. BLACK BASALT RELIEF 214, fig. 126. L. Vanden Berghe, Archeologie
Handle repaired in antiquity with metal de I'Iran ancien, Leiden, 1959, pi. 12b.
bands. Front: bird of prey between two Illustrated
lion-headed serpents, whose bodies show
beneath his oddly marked, outspread 15. GOLD IBEX APPLIQUfi
wings. Back: architectural motif, rhyth- One of five. Flat cut-out with ears,
mically repeated in two registers bor- crown, eyebrows, and eyes in low re-
dered by zigzag bands. pousse. One of the seven pairs of sewing
Azerbaijan. 3rd mil. B.C. holes form nostrils.
H lOi in, W
101 in. Depth f in; H 26 cm Tepe Hissar IIIc. Ca.2000 B.C.
W 26.5 cm. Depth 2 cm H 3J in, W
5i in; H 8 cm, 13 cm W
Archeological Museum, Tehran. 675 Archeological Museum, Tehran. 369
bibliography: bibliography:
Y. Godard, "Autre Objet provenant de I'Adhar- A. U. Pope, Survey of Persian Art, New York,
baidjan," Athar-e Iran, 1938, pp. 306-311, figs. 1939, pi. 21b. E. F. Schmidt, Excavations at
210, 211. L. Vanden Berghe, Archiologie de Tepe Hissar Damghan, Philadelphia, 1937, p.
I'Iran ancien, Leiden, 1959, pi. 151a, 151b. 189, fig. 111.
Illustrated Illustrated

12. SMALL FIGURE OF A MAN (pi2*) 16. BLACK POTTERY BOTTLE

With short beard from ear to ear, shaved Ovoid body terminating at a sharp flange,
around the lips. The upper part of the above which a short narrow neck rises

FTFTY-FOUR
 :

to a lip that echoes the flange. The body The Illustrated London News, April 28, 1962,
is covered with barely discernible cross- Supplement, pi. 3, fig. g.
Illustrated
hatching.
Tureng Tepe, Astarabad. Ca.2000 B.C.
H 141 in, D 21 in; H 36.5 cm, D 6 cm 20. GOLD BEAKER WITH GRIFFINS
Archeological Museum, Tehran. 310
AND WINGED BULLS
Repousse and engraved. Raised rim
DARKEST-GRAY POTTERY VASE bordered by double guilloche. The up-
17.
per register contains three griffins, the
Burnished ware. Above the sharp shoul-
lower three bulls. Bottom: rosette sur-
der are registers of cross-hatching in
black; the exterior of the widely flaring
rounded by connected lanceolate leaves
suggesting a stylized tree of life.
lip is decorated only with diagonal lines.
Marlik. Ca.12-1000 B.C.
Tureng Tepe, Astarabad. Ca.2000 B.C.
H 8^ in, D 5i in; H
21.5 cm, 14 D cm
H 71 in; H
20 cm
Archeological Museum, Tehran. 14811
Archeological Museum, Tehran. 307
bibliography:
The Illustrated London News, April 28, 1962,
Supplement, pi. 2, fig. b.

The Marlik Culture 21. GOLD BOWL (p 63)

Repousse and engraved with three lions
18. LARGE GOLD BEAKER WITH TWO with heads in full round; note swastikas
PAIRS OF WINGED BULLS on cheeks as well as haunches.
Repousse and engraved. The bulls with Kalardasht, Mazanderan. Ca.1200-1000 B.C.
patterned bodies face each other on H 5 in, D
4i in, Wt 8i oz; 12.5 cm, H
either side of a tree of life. The bulls' D 11.5 cm, Wt 238 g
heads, turned outward, are done in full Archeological Museum, Tehran. 5688
bibliography:
round; the horns and ears, made sepa-
L. Vanden Berghe, Archeologie de I'Iran ancien,
rately, are attached. The bulls rear up,
Leiden, 1959, pi. 2a.
their hind legs on a base marked by a Exhibited: Paris, 1948; Rome 1956, ill. facing
scale pattern suggesting mountainous ter- pi. 22.
rain. Each bull places one foreleg on the Frontispiece
tree and raises the other. The vessel rim
is rolled. Below it is a raised multiple 22. GOLD BEAKER WITH BULLS
guilloche; at the base an engraved double Repousse and engraved. The three bulls
guilloche. Bottom:
rosette surrounded in the upper register walk to the right;
by a wreath of linked lanceolate pat- the three in the lower, longer legged due
terned leaves; gold and nail in center. to the vessel's proportions, face left. Six
Marlik. Ca. 1200-1000 B.C. rosettes in the upper register, five in the
H 7i in, Wt Hi oz; H
18.5 cm, Wt 316 g lower. Registers separated by chevron
Archeological Museum, Tehran. 14708 band. Single guilloche around bottom.
BIBLIOGRAPHY Bottom: a design in a circle.
The Illustrated London News, April 2S, 1962,
Marlik. Early 1st mil. B. C.
Supplement, The beaker appears on
pi. e, fig. h.
Iran's new 500-rial notes.
H 7 in; H
18 cm
Archeological Museum, Tehran. 14698
Color plate on cover
bibliography:
The Illustrated London News, April 28, 1962,
19. SMALL GOLD BOWL Supplement, pi. 1, fig. a.
Repousse and engraved showing a fal- Illustrated
con in high relief with wings outspread
over a pair of rams. The falcon holds a 23. LARGE GOLD BOWL (p 6i*)
small fish against its chest. On the other Repousse and engraved scenes. Narrative
side another pair of rams facing a tree of scenes in two or more registers framed by
life. Rolled rim with braided multiple a double guilloche below rim, single one
guilloche below it. Bottom: rosette en- at base. Above: gods in chariots and
circled by a rope pattern. priest with sacrificial animals. Below:
Marlik. Ca. 1200-1000 B.C. contest between a hero and a rock-mon-
H 41 in; H 12 cm ster; other scenes.
Archeological Museum, Tehran. 14701 Hasanlu. Ca.lOOO B.C.
bibliography: H 10^ in, W
11 in, Wt 33§ oz; H 26.6 cm.

FIFTY-FIVE
 W 28 cm, Wt 945 g der. In the upper register, three goats fac-
Archcological Museum, Tehran. 10712 ing right; in the lower, three goats fac-
Expedition I, Spring.1959, pp. 18-22. Lije ing left. Hair indicated by punch marks.
Magazine, Jan. 11, 1959. E. Porada, Ancient
Guilloche at the bottom; raised section
Iran, New York, 1964, (in press).
around foot. Bottom: a six-petaled ro-
Illustrated
sette in a petal circle.
Marlik. Ca.1200-1000 B.C.
24. GOLD BEAKER WITH ROWS OF H 2i in, D2 in, Wt U oz; H 6.5 cm, D 5 cm,
ANIMALS Wt 34.5 g
Repouss^ and engraved. Everted lip Archeological Museum, Tehran. 14810
bibliography:
encircled by double guilloche. Three
The Illustrated London News, April 28, 1962,
pairs of vultures, facing each other, pick
Supplement, p. 664, fig. 12.
the innards of three dead ibex, lying on
their backs. Above each ibex, between
the vultures, squats a small, seated mon- 28. ELECTRUM FIGURINE, FINIAL
key-man with short tail and furry chest Repousse and engraved. Head separately
touching a tree. Three small birds fly made and joined at neck with two wire
above six boars walkmg to the right. circles. Ears, attached with solder, have
Three pairs of goats rear up against three two holes; right ear has wire ring in lower
trees to nibble the upper branches. Five hole. Hair elaborately dressed with braid
does turn to lick the rumps of their nurs- and filet. Body portion is covered with
ing fawns. Simpler guilloche. Bottom: pattern made by punch marks, which
basket-weave pattern, done quite cur- also form a necklace with a pendant.
sorily, chevron bordered. Thin arms are crossed high on the body
Marlik. Early 1st mil. B.C. under tiny breasts. The hollow figure is
H 75 in, Wt 8 oz; H 20 cm, Wt 229 g bordered with a wire guilloche.
Archeological Museum, Tehran. 14699 Marlik. Ca.1200-1000 B.C.
H 41 in, Wt li oz; H
11.8 cm, Wt 43.5 g
Archeological Museum, Tehran. 14692
25. SILVER BEAKER
Lightly and firmly engraved with a war-
rior grasping two leopards by their 29. ONE OF TWO GOLD LION HEAD
throats. On the back, a mountain goat is FINIALS.
poised on top of a tree. Guilloche at lip Fangs inserted into wire rings; flat nar-
and base. Bottom plain. row tongue, soldered onto bottom of
Marlik mouth, curves over lower lip. Ears laid
H 5i in; H 14 cm back; large eyes indicated by empty
Archeological Museum, Tehran. 14834 sockets. Punch marks suggest mane.
bibliography: Marlik. Ca.1200-1000 B.C.
The Illustrated London News, April 28, 1962, H If in, Wt i oz; H
4.5 cm, Wt 12.7 g
Supplement, p. 664, fig. 11. Archeological Museum, Tehran. 14614
bibliography:
The Illustrated London News, April 28, 1962,
26. GOLD BEAKER (p 8o) Supplement, pi. 2, fig. e.
Repousse and engraved with four hons
attacking four stags in the upper register;
in the lower, four kneeling gods with 30. GOLD BRACELET
homed miters holding flowing vases. Terminates in Hon heads and necks, each
Braided guilloche under flared rim. separated from the body of the bracelet
Chevron band separates registers. Bot- by two double wires. Manes, ears, and
tom: six-petaled rosette. ruffs are marked with punched dots. The
Gilan. Ca.1200-1000 B.C. open months have four inserted fangs.
H 41 in, D 31 in, Wt 3 oz; H 11.6 cm, Bracelet made in two pieces with wdre
D 9.2 cm, Wt 85 g encircled joint.
Archeological Museum, Tehran. 11363 MarHk. Ca.1200-1000 B.C.
D 3 in, Wt f oz; D
7.5 cm, Wt 19.8 g
Archeological Museum, Tehran. 14816
27. SMALL GOLD BEAKER WITH bibliography :

RECUMBENT GOATS The Illustrated London News, April 28, 1962,

Repousse and engraved. Guilloche bor- Supplement, pi. 2, fig. c.

FIETY-SIX
31. GOLD PENDANT Marlik. Ca. 1200-1000 B.C.
Circular cage formed of granules and L 12i in; L 31 cm
Archeological Museum, Tehran. 14705
wires on a gold ring.
bibliography:
Marlik. Early 1st mil. B.C.
The Illustrated London News, April 28, 1962,
H 3J Wt 1 oz;
in, H
8 cm, Wt 28.3 g
Supplement, p. 664, fig. 9.
Archeological Museum, Tehran. 14689
bibliography:
The Illustrated London News, April 28 1962, 36. NECKLACE OF GOLD AND
Supplement, p. 664, fig. 6. CARNELIAN BEADS
Thirty-five elements: sixteen round and
oval carnelian beads and nineteen gold
32. GOLD POMEGRANATE EARRING beads, fourteen of which are pomegran-
( P 704 ) ate shaped, six large and eight small.
Ornamented with granulee triangles.
Marlik. Early 1st mil. B.C.
Marlik. Ca. 1200-1000 B.C.
H H
Wt H oz; Wt 34 g
II in, Wt i oz; 4.8 cm, Wt 15 g Archeological Museum, Tehran. 14831
Archeological Museum, Tehran. 7955
Illustrated
37. GLASS MOSAIC VASE
Composed of tiny circular elements in
33. GOLD AND CARNELIAN green, red, white, and blue set in dia-
NECKLACE WITH PENDANT mond patterns. Tang on bottom.
Nineteen elements three small carnelian
:
Marlik. Ca.1200-1000 B.C.
beads, six oblong carnelian beads, two H 6i in, D in; H 17 cm,
2| D 7 cm
smaller oblong carnelian beads, six round Archeological Museum, Tehran. 14696
gold beads with ring ends and one larger
round gold bead with the flat gold pend- 38. FAIENCE BEAKER
ant soldered to it. The pendant is dec- Decorated with a chevron pattern in
orated with a gold band soldered in a blue, red, yellow, and white in three
free abstract floral design. registers.
Marlik. Ca. 1200-1000 B.C. Marlik. Early 1st mil. B.C.
D of pendant 24 in, W
of ensemble li oz; H 3f in, D 21 in; H 9.5 cm, D
5.5 cm
D of pendant 5.5 cm, W
of ensemble 40 g Archeological Museum, Tehran. 14719
Archeological Museum, Tehran. 14706
bibliography:
The Illustrated London News, April 28, 1962,
39. BRONZE STEATOPYGOUS FEMALE
Supplement, p. 664, fig. 8 (pendant only). FIGURE
Elbows akimbo; many bodily features
delineated, such as the navel and knees.
34. GOLD AND FRIT NECKLACE The pointed head may indicate a cap;
Nine elements: two plain frit beads, six ears perforated for earrings.
striatedgreenish oval frit beads with Marlik. Ca.1200-1000 B.C.
gold-banded ends, and a soldered cluster H 8i in; H 21 cm
composed of five gold beads, four of Archeological Museum, Tehran. 25070
which are pomegranate-shaped. bibliography:
Marlik. Early 1st mil. B.C. The Illustrated London News, May 5, 1962,
Full surviving L 7| in, Wt 1^ oz; Full surviving p. 701, fig. 20.
L 20 cm, Wt 45 g Illustrated
Archeological Museum, Tehran. 14704
bibliography
The Illustrated
:

London News, April 28, 1962,

40. TWO BRONZE BULLS YOKED TO
Supplement, pi. 2, fig. f.
A PLOW
The heavy dewlaps of the bulls balance
their humps. The plow consists of a shaft
35. GOLD NECKLACE with the yoke attached by a heavy wire
Twenty-three elements: six pairs of dou- loop and nail and, at the opposite end
ble spirals of fine gold wire, ten round of the shaft, a ring to hold the simple
beads, six oval ribbed beads, and a cen- blade-like plowshare.
terpiece, suspended from an upper loop Marlik. Ca.1200-1000 B.C.
of two beads in the middle surrounded L of bulls 2f and 2i in, Wt 12i oz; L of bulls
by three pomegranates with very long 6.6 and 6.2 cm, Wt 345 g
snouts. Archeological Museum, Tehran. 25071

FIFTY-SEVEN
41. BRONZE BULL ON FOUR WHEELS 47. POTTERY SHEEP
The horns, ears, hooves, and genitals, as Spouted mouth. The horns curve around
well as the characteristie hump, are de- the ears, and only their tips are separated
lineated. Eaeh wheel is separately at- from the head. Eyes indicated by small
taehed by a nail. holes. Holes of similarly small size for
Marlik. Ca. 1200-1000 B.C. earrings. Delicate decoration on head
L 4J in; L 12 cm and neck of two lines of small indenta-
Archcolo^ical Muscttm, Tehran. 14682 tions.
nnu-iocuAPHY: Marlik. Ca.1200-1000 B.C.
The lUustraicd London News, May 5, 1962, L llj in; L 30 cm
p. 609. fig. 3. Archeological Museum, Tehran. 14678
lUustrated Illustrated

42. BRONZE STAG LEANING BACK 48. LARGE RED POTTERY STAG
Cloven hooves, hanging tail, circle eyes,
Spouted mouth. Smooth burnished sur-
and five tines on each antler.
face with age spots. Construction hole
Marlik. Ca.1200-1000 B.C.
L below the small tail.
3i in; L 8.3 cm
Archcological Museum, Tehran. 14683 Marlik. Ca. 1200-1000 B.C.
lUusirated L 131 in; L 34 cm
Archeological Museum, Tehran. 25141
Illustrated
43. SMALL BRONZE GOAT
Large horns wing outward from the head
and flatten into sharp ends. 49. RED POTTERY STAG WITH
Marlik. Ca.1200-1000 B.C. TURNED HEAD
H If in, L li in, Wt 2i oz; H 4.2 cm, L 4.5 cm, Right ear back, left ear forward; holes in
Wt 70 g each for earrings. Eyes incised with a
Archeological Museum, Tehran. 25106 sharp tool. Four tines on each antler.
bibliography: Marlik. Ca.1200-1000. B.C.
lUustrated London News, May 5, 1962, p. 699 L 11 in; L 28 cm
fig. 8.
Archeological Museum, Tehran. 14678.
Illustrated BIBLIOGRAPHY:
The Illustrated London News, May 5, 1962,
44. CROUCHING BRONZE LEOPARD p. 700, fig. 10.

Long, outstretched tail. Three ridges at Illustrated

shoulders and knob on rump.

Marlik. Ca.1200-1000 B.C. 50. RED POTTERY MULE
L 4| in; L 11.7 cm He carries a pack on each side. Round
Archeological Museum, Tehran. 14686 eyes are stamped in; mouth forms a
Illustrated
spout.
Marlik. Ca.1200-1000 B.C.
45. STANDING POTTERY ARCHER H 9J in, D 141 in; H 25 cm, L 36.5 cm
He holds a long bow and arrow and Archeological Museum, Tehran. 14664
wears a huge sword with a design of
pressed circles stuck in his belt.
Marlik. Ca.1200-1000 B.C. 51. RED POTTERY GOAT
H9iin; H
23.5 cm Four squatty legs, tiny tail, knobbed
Archeological Museum, Tehran. 14671 horns, ears, dot eyes with incised crosses
and throat ruff. Burnished body has
46. SEATED POTTERY BEAR-WOMAN fishbone markings representing hair on
The arms are extended as in an embrace, each side. Small spout in middle of back.
and the spout mouth appears to be Kalardasht. Ca. 1200-1000 B.C.
laughing. H at horns 6J in, H at spout 4i in, L 5^ in;
Marlik. Ca.1200-1000 B.C. H at horns 16.5 cm, H at spout 10.5 cm,
H 11 in; 28 cm H L 14 cm
Archeological Museum, Tehran. 14673 Archeological Museum, Tehran. 5681
BIBLIOGRAPHY: BIBLIOGRAPHY:
The Illustrated London News, May 5, 1962, L. Vanden Berghe, Arch6ologie de I'Iran ancien,
p. 600, fig. 7. Leiden, 1959, pi. 3a.
Illustrated Color plate

FIFTY-EIGHT
 :

52. POTTERY TRIPLE VASE 56a.POTTERY TRIPLE VASE

Gray with fine gray
the three cups
slip; Decorated with two ducks and a man
are joined inside by openings. holding the vessel's spout. The three
Marlik. Ca. 1200-1000 B.C. miniature storage jars are connected.
H lOi in, D
of each cup 2| in; 26 cm, H D of Hasanlu. 12th c. B.C.

each cup 7.3 cm H 3i in, D 4i in; H 9 cm, D 11.5 cm

Archeological Museum, Tehran. 25117 Archeological Musem, Tehran. 641
bibliography: bibliography:
The Illustrated London News, May 5, 1962, L. Vanden Berghe, ArchSologie de I'Iran ancien,
p. 700, figs. 12, 14. Leiden, 1959, pi. 147b.
Illustrated

57. BLACK POTTERY JUG

53. BURNISHED GRAY POTTERY Burnished ware. Long spout with crest;
VASE small loop handle. An incised band
With a spout suggesting the head and above the shoulder has knob on either
neck of a styHzed crane. The base of the side of the spout, imitating metalwork.
spout is marked by a ring and rows of Khorvin. Ca.llOO B.C.
dots, its neck by several rings. H 5i in, D3J in; H 13 cm, D 8 cm
Marlik. Ca. 1200-1000 B.C. Archeological Museum, Tehran. 6961
H m in;
Archeological
H 29 cm
Museum, Tehran. 25290
bibliography: 57a.PAIR OF GOLD EARRINGS
The Illustrated London News, May 5, 1962, Composed of twenty balls, a loop, and a
p. 700, fig. 13. tube-like stamen soldered together.
Illustrated Hasanlu
Wt 1.9 oz; Wt 55 g
Archeological Museum, Tehran. 6751
54. FOOTED GRAY POTTERY VASE BIBLIOGRAPHY
Burnished. Long spout and short hooked L. Vanden Berghe, Archeologie de I'Iran ancien,
handle. Rim carefully tooled in ridges. Leiden, 1959, pi. 148a.
Depression in bottom.
Mariik. Ca. 1200-1000 B.C.
H 71 in, D H
19.6 cm, 13 cm D 58. BLACK POTTERY HEN
5i in;
Archeological Museum, Tehran. 25291
Highly Stands on three small
stylized.
on top represent rows
feet; relief ridges
of feathers; long neck viewed from the
55. BRONZE MACE HEAD front presents a grotesque face.
Three reclining rams at opening. Body Khorvin. Ca.llOO B.C.
vertically ridged; a ring engraved into H 51 in, L 5J in; H 13.5 cm, L 14 cm
shoulder and a ring raised on the neck. Archeological Museum, Tehran. 6953
Marlik. Ca.1200-1000 B.C. BIBLIOGRAPHY:
H 4f in; H 11.7 cm L. Vanden Berghe, Archiologie de I'Iran
Archeological Museum, Tehran. 14652 ancien, Leiden, 1959, pi. 154f.
Illustrated
59. Withdrawn

The Period of Button Base Pottery Period of Gray Ware at Hasanlu

AT Hasanlu Ca. 1250-1050 b.c. Ca.1050-800 e.g.

60. BLACK POTTERY POT AND

56. BLACK POTTERY JUG STAND
Handle attached at the sharp shoulder Pot: long spout with long-tailed animal
angle and at the middle of the wide standing on it and beard below. On
flaring rim. each side, an ibex in rehef showing both
Khorvin. Ca.llOO B.C. horns, all four feet, and a curled tail.
H lOJ in, D
3.66; 27.5 cm,H 9.3 cm D Low foot. Stand: an open cylinder with
Archeological Museum, Tehran. 10787 three booted feet, three rectangular

FIFTY-NINE
 .

openings in the body, a ring of relief ArcheologicalMuseum, Tehran. 569

squares below the neck, and three ibex BIBLIOGRAPHY:
E. Porada, Ancient Iran, New York, 1964, (in
heads in the round, with their horns at-
press )
tached to the rim.
Hasanlu. Late 2nd— early 1st mil. B.C.
Cherall H 178 in, H of pot 7i in, L of pot with
.spout l-U in, H of stand 9 in, D of stand 7 J in;
Objects of Various Periods from the
Overall H 42 cm,, H of pot 19 cm, L of pot with
spout 36 cm, H of stand 23 cm, D of stand Region Southwest of the Caspian
19 cm Sea ("Amlash" Region)
ArcJwological Mtisetim, Tehran. 100090: 706
12th-6th c. B.C.
and 634
BIBLICXT-RAPHY:
L. Vanden Berghe, Archdologie de I'lran ancien, 64. FOOTED SILVER BOWL WITH
Leiden, 1959, pi. 145d (pot). HANDLE {p 72)
Decoration in repouss^ showing four
rams turned to the left. Their fleece is
indicated by parallel lines of fine dots.
Pottery from Sialk VI Amlash. 12th-6th c. B.C.
H 4} in, D 6i in, Wt 195 oz; H 12 cm,
D 15.5 cm, Wt 560 g
61. LONG-SPOUTED POTTERY JAR Collection Foroughi, Tehran

Buff ware decorated in red paint with a

bull on either side, checkerboard squares
65. FOOTED SILVER BOWL WITH
and cross-hatched designs. Everted hp. HANDLE (p 73)
Handle. Flat base. The decoration in repousse represents a
kneeling hunter shooting a wild moun-
Sialk VL
tain goat; behind them, a dog and a per-
H 6i in, D 4i in; H 15.8 cm, D 11 cm
biblography: son with pointed coiffure, executing a
Archeological Museum, Tehran. 176 kneehng enemy in front of him. In the
R. Ghirshman, Iran, Harmondsworth, 1954, field a bird. The border is decorated
fig. 32. Exhibited: Rome, 1956, no. 70, pi. 20. with broken lines.
Amlash. 12th-6tli c. B.C.

62. LONG-SPOUTED POTTERY JAR H 21 in, D 3i in; H 7.3 cm, D 8.7 cm

Collection Foroughi, Tehran
Yellowish-buff ware decorated in dark
brown with checkerboard squares and 66. Withdrawn
row of pointed triangles. Flat bottom has
cross with a dot in each quarter. Everted
67. Withdrawn
lip. Handle.
Sialk VI 68. Withdrawn
H 6 in, D
3i in; 15 cm, H
9.5 cm D
Archeological Museum, Tehran. 180.
bibliography:
69. NECKLACE (p 86)
R. Ghirshman, Fouilles de Sialk II, Paris, 1959.
With a large gold disc, consisting of two
circular fields around a central agate, and
smaller gold discs separated from each
other by keg-shaped agates.
Amlash. 12-6th c. B.C.
Elamite L 10 in, D disc 3 in; L 25.5 cm, D disc 7.4 cm
Collection Foroughi, Tehran

63. SIL\^R STANDARD TOP 70. FIGURINE OF NUDE WOMAN IN

Head form of a bird or tortoise
in the GR.\Y-BLACK FIRED CLAY
with open mouth wdth fish scales in it, (P92)
eyes in relief, engraved chevron patterns High, pointed coiffure. The hands are
on back of head and neck. Four metal laid over her abdomen, the ears pierced,
curls hanging in back may suggest the and eyes and mouth hollowed out.
colored cords of a standard. Amlash. 12th-6th c. B.C.
Susa.2000-1500 B.C. H 7i in; H 20 cm
H 3i in, W 45 in; H 9 cm, W 12 cm Collection Foroughi, Tehran

sixty
71. FIGURINE OF NUDE WOMAN IN 78. CUP WITH HANDLE, FIRED
GRAY-BLACK FIRED CLAY (p94) CLAY (Pioi)
Arms brought together over her breasts; Blue glaze with black painting of sty-
pointed coiffure; pierced ears with lized wild mountain goats.
bronze earrings, one of them mounted Amlash. 12th-6th c. B.C.
with a pearl. H 2f in, D 3i in; H 7 cm, D 9 cm
Amlash. 12th-6th c. B.C. Collection Foroughi, Tehran
H 5f in, L 3 in; H 14.5 cm, L 7.6 cm
Collection Foroughi, Tehran
79. BOWL WITH THREE FEET, RED
FIRED CLAY (pios)
72. STATUETTE OF A WOMAN IN Decorated v^dth the forequarters of
YELLOW FIRED CLAY (p 95) horses.
Her arms are laid over her abdomen. Amlash. 12th-6th c. B.C.
Amlash. 12th-6th c. B.C. H 4 in, D 6.8 in; H 10.2 cm, D 17.3 cm
H 6 in, L 3i in; H 15.5 cm, L 8.5 cm Collection Foroughi, Tehran
Collection Foroughi, Tehran

80. RHYTON OF RED FIRED CLAY

73. FIGURINE OF NUDE WOMAN (P103)
WITH HIGH COIFFURE IN In the shape of a humped ox; base set on
FIRED CLAY (pge) paws.
Hands brought over her chest; roundish Amlash. 12th-6th c. B.C.
face, not modeled; ears pierced. H 6i in, L lOi in; H 16.4 cm, L 26 cm
Amlash. 12th-6th c. B.C. Collection Foroughi, Tehran
H 6i in, L 2 in; H 16 cm, L 5 cm
Collection Foroughi, Tehran
81. GLOBULAR PITCHER OF GRAY
FIRED CLAY (pio4)
74. RHYTON OF FIRED CLAY (pq?) The neck is shaped like a gazelle's head,
In the shape of a horse; incised mane; reinforced by a handle; the intake is be-
traces of paint. hind the head; the muzzle of the animal
Amlash. 12th-6th c. B.C. ends in a cylindrical spout.
H lOi in, L m in; H 26 cm,
Collection Foroughi, Tehran
L 27.5 cm Amlash. 12th-6th c. B.C.
H 12i in, D 7J in; H 31 cm, D 20 cm
Collection Foroughi, Tehran
Illustrated
75. RHYTON OF FIRED CLAY (pqs)
In the shape of a ram's head.
Amlash. 12th-6th c. B.C. 82. RHYTON OF BLACK CLAY
H lOi in, D 51 in; H 26 cm, D 14.2 cm (p 105)
Collection Foroughi, Tehran In the shape of a humped ox.
Amlash. 12th-6th c. B.C.
H 9i in, L
12J in; 24 cm, H L 31 cm
76. ROUND DRINKING VESSEL OF Collection Foroughi, Tehran
YELLOW FIRED CLAY (pqq)
The intake is in the form of a human
head on a long neck, while a cylindrical 83. GOBLET OF FIRED CLAY (pioe)
spout is found on the opposite side. The In the shape of a boot; the incised dec-
vessel rests on four small feet. oration imitates embroidery and lace-
Amlash. 12th-6th c. B.C. work.
H 3J in, L 5 in; H 9.5 cm, 12.5 cm Amlash. 12th-6th c. B.C.
Collection Foroughi, Tehran H 4i in, L 6f in; H 11.5 cm, L 17 cm
Collection Foroughi, Tehran

77. RHYTON OF FIRED CLAY ( pioo)

In the shape of a horse with a small 84. VESSEL OF GRAY-BLACK FIRED
rider. Thick cyhndrical body on stump- CLAY
like feet. Consisting of three egg-shaped parts and
Amlash. 12th-6th c. B.C. a bull's head pierced by a hole at the
H 8i in, L 8i in; H 21 cm, L 21.5 cm top and another in the muzzle. Incised
Collection Foroughi, Tehran decoration around the animal's neck.

SIXTY-ONE
 Amlash. 12th-6th c. B.C. Amlash. 12th-6th c. B. C.
H 59 in. L 5? in; H 13.5 cm, L 13.5 cm H 6i 95 in; H 16 cm,
in, L L 25 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran
Ilhistrated

91. RHYTON OF GRAYISH-BLACK

85. RIIYTON OF BRICK-COLORED FIRED CLAY (pii5)
FIRED CLAY (pios) In form of a stag, its body of ovoid shape.
In the form of a wild mountain goat. Amlash. 12th-6th c. B.C.
The intake is on the nimp. H 61, 7i in; H 17 cm, L 18.5
L cm
Amlash. 12th-6th c. B.C. Collection Foroughi, Teliran
H 8i in, L lOi in; H 21 cm, L 26 cm Illustrated
Collectkm Foroughi, Tehran

92. RHYTON OF BRICK-RED FIRED

86. PITCHER WITH LONG SPOUT IN CLAY (put)
RED FIRED CLAY (pi09)
In the shape of a stylized bufi^alo; in some
The spout grows out of a buflFalo's head areas its fur is indicated by incised dots;
sculpted in the round. The orifice is en-
at the muzzle an extended, beak-like
circled by pointed nailheads.
spout.
Amlash. 12th-6th c. B.C.
Amlash. 12th-6th
H 9i in, ma.\imimi W
5^ in; H 24 cm,
H 10
c. B.C.
9* in; H 25.5 cm,
L L 24 cm
maximum W 14 cm
in,
Collection Foroughi, Tehran
Collection Forotighi, Tehran
Illustrated

87. RHYTON OF RED FIRED CLAY 93. BRONZE STATUETTE OF A STAG

(p no) (P 119)
Shaped like the forequarters of a wild With a suspension ring on its back; the
mountain goat. fur is indicated by small bosses.
Amlash. 12th-6th c. B.C. Amlash. 12th-6th c. B.C.
H 75 in, D 4J in; H 20 cm, D 10.8 cm H 5i in, L 41 in; H 14 cm, L 12 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

88. RHYTON OF RED AND GRAY- 94. HUMPED BULL, BRONZE (pi2o)
BLACK FIRED CLAY (piii)
The paws end in two small bells.
In form of recumbent doe without
Amlash 12th-6th c. B.C.
hooves; the intake is in the middle of the
H 2i L
2 in;
in, H
5.6 cm, L 5 cm
back. Collection Foroughi, Tehran
Amlash. 12th-6th c. B. C.
H 61 in, L 7i in; H
17 cm, L 18.5 cm
Collection Foroughi, Tehran 95. SMALL BRONZE DOE (p 12i)
Illustrated Amlash. 12th-6th c. B.C.
H 2 in, L 2 in; H 5.1 cm, L 5 cm
Collection Foroughi, Tehran
89. RHYTON OF YELLOWISH-RED
FIRED CLAY (pus)
In the shape of a stag; intake in the form 96. BRONZE DOG WITH DOUBLE
of a small bulbous vase on the stag's COLLAR (pi22)
back. Amlash. 12tli-6th c. B.C.
Amlash. 12th-6th c. B.C. H 25 in, L
2i in; H
5.4 cm, L 6.5 cm
Collection Foroughi, Tehran
H 6i, L 9 in; H 17.5 cm, L 23 cm
Collection Foroughi, Tehran
Illustrated 97. BRONZE BOAR (pi23*)
Hollow belly.
90. RHYTON OF RED FIRED CLAY Amlash. 12th-6th c. B.C.
(piu) H U 2i in; H 4 cm, L 6.5
in, L cm
In the form of a jug with handle, its neck Collection Foroughi, Tehran
flanked by heads of wild mountain goats. Illustrated

Large intake in shape of a horse's head.

Lower part of vessel in form of fore- 98. SMALL BRONZE HORSE (pm)
quarters of a horse, with a spout in its With big mane. The body is pierced by
chest. suspension holes.

SIXTY-TWO
 )

Amlash. 12th-6th c. B.C. 107. BRONZE STATUETTE OF A

H li in, L in;U 3.5 cm,H L 5.8 cm WARRIOR (pi33*)
Collection Foroughi, Tehran
Armed with a dagger; hands akimbo.
Amlash, 13th-6th c. B.C.
99. BRONZE UNICORN (piss*) H 31 in, WU in; H 9.2 cm, 3.8 cm W
Hollow belly. Collection Foroughi, Tehran
Illustrated
Amlash. 12th-6th c. B.C.
H 3 in, L 2i in; H 7.4 cm, L 6.5 cm
Collection Foroughi, Tehran
Illustrated
108. BRONZE DOE WITH ITS FAWN
(P 134)
Amlash. 12th-6th c. B.C.
100. BRONZE MOUFLON (pi26) H 21 in, L 3 in; H 6.3 cm, L 7.4 cm
With suspension ring on its back. Collection Foroughi, Tehran
Amlash. 12th-6th c. B.C.
H 2f in, L 3J in; H 7 cm, L 8 cm
Collection Foroughi, Tehran 109. BRONZE MOUFLON (P135)
With two animals on its back, a small
suspension ring.
101. BRONZE STAG (pis?)
Amlash. 12th-6th c. B.C.
With two necks and heads. Small sus-
pension ring on the back.
H 2 in, L 31 in; H 5 cm, L 8.4 cm
Collection Foroughi, Tehran
Amlash. 12th-6th c. B.C.
H 3i in, L
31 in; 8 cm, H L 8.5 cm
Collection Foroughi, Tehran 110. BRONZE STATUETTE OF A BULL
(P136)
102. BRONZE STATUETTE OF A STAG Amlash. 12th-6th c. B.C.
(P128) H 3 in, L 4i in; H 7.5 cm, L 11.5 cm
Back paws doubled. Suspension ring on Collection Foroughi, Tehran
the back.
Amlash. 12th-6th
H 3i 31 in;
in,
c. B.C.
H
9 cm, L 9.3 cm
111. HUMPED BULL OF BRONZE (p 137*
Amlash. 12th-6th c. B.C.
Collection Foroughi, Tehran
H 2 in, L 2J in; H 5 cm, L 7.2 cm
Collection Foroughi, Tehran
103. SMALL BRONZE HORSEMAN (pi29)
Amlash. 12th-6th c. B.C.
H If in, L 2i in; H 4.4 cm, L 5.5 cm 112. HUMPED BULL OF BRONZE (pi38)
Collection Foroughi, Tehran With small suspension ring.
Amlash. 12th-6th c. B.C.
104. BRONZE HORSEMAN (pi30*)
H 2J in, L 2i in; H 5.4 cm, L 7 cm
Collection Foroughi, Tehran
With round shield on his back.
Amlash. 12th-6th c. B.C.
H 2f in, L 2i in; H 6 cm, L 6.2 cm 113. BRONZE MIRROR (pi4o)
Collection Foroughi, Tehran The handle represents a mother goddess
Illustrated holding a child in her arms.
Amlash. 12th-6th c. B.C.

105. NUDE BRONZE HORSEMAN (pisi*) L 11 in,D 5i in; L 28 cm, D 14 cm

Riding with both legs on the same side Collection Foroughi, Tehran
of the saddled horse; another nude figure
is apparently leading the animal. 114. BRONZE PIN (pi4i)
Amlash. 12th-6th c. B.C. Surmounted by a mule.
L 3i in, W
2i in; L 8.2 cm, W 7 cm Amlash. 12th-6th c. B.C.
Collection Foroughi, Tehran H 4 in, W If in; H 12 cm, W 4.5 cm
Collection Foroughi, Tehran
106. BRONZE FIGURINE (piss)
Nude woman, with spread-out arms, in 115. BRONZE PIN (pi42')
praying position. Surmounted by two horses back-to-back.
Amlash. 12th-6th c. B.C. Amlash. 12th-6th c. B.C.
H 2i in, li in;W H 5.5 cm, W 3 cm W
H 4i in, 2t in; H 10.6 cm, W 6 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

SIXTY-THREE
116. BRONZE PIN (phg) Amlash. 12th-6th c. B.C.
With head in form of an ibex. L 20 i in, 28 W in; L 52 cm, W 6 cm
Collection Foroughi, Tehran
Anilash. 12th-6th c. B.C.
H 4i in. W
li in; H 11 cm, W 4.6 cm 124. BRONZE AX
Collection Foroughi. Tehran (pl^i)
Flat, in form of halberd.
Amlash. 12ai-6lh
117. BRONZE DAGGER (pi44)
L W
c. B.C.
W 6.4 cm
flanges; the 5J in, 2i in; L 14 cm,
Hollow-cast hilt, without
Collection Foroughi, Tehran
original wood incrustation still extant.
Amlash. 12th-6th B.C.
c.
125. HALF-ROUNE) BRONZE AX (pi52)
L 13 in, W 33 cm,
la in; L W 3.5 cm type.") Two semicircular cut-
("Amazon
Collection Foroughi, Tehran
outs on the made; the center of tlie blade
encloses the shaft and, on the back, is
118. BRONZE DAGGER (phs) fastened to it by a protruding knob. The
VVitli hollow-cast hilt; blade with three handle is square on top and cylindrical
ribs.
at its lower end.
Amlash. 12th-6th c. B.C.
Amlash. 12th-6th c. B.C.
L 14 in, W
II in; L 35.7 cm, W 4 cm L 17g in; L 44 cm
Collection Foroughi, Tehran
Collection Foroughi, Tehran
Illustrated
119. BRONZE DAGGER (pi46)
With two ribs; pommel and hilt original- 126. BRONZE AX (pi53)
ly inlaid with incrustations, now lost. With openings at the socket. The back
The ends of the cross-guard are crescent of the socket decorated with a sculpted
shaped. Honess, holding a cub in her muzzle.
Amlash. 12th-6th c. B.C. Amlash. 12tli-6th c. B.C.
L 151 in, W
2J in; L39 cm, W 5.5 cm L 3i in, W
4i in; L 9 cm, W 10.5 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

120. SHORT BRONZE SWORD (ph?) 127. BRONZE BUTTON (pi5c*)

With central rib; hilt in the form of a Part of a harness, applied at the crossing
statuette sculpted in the round, repre- of two straps. Decorated with a recum-
senting a nude goddess holding her bent wild mountain goat, in Scythian
breasts. The pommel is formed by two style.
long-necked, confronted horses' heads. Amlash. 12th-6th c. B.C.
Amlash. 12th-6th c. B.C. H 1 in, L 11 in; H 2.5 cm, L 3.5 cm
L m in, W 2i
Collection Foroughi, Tehran
in; L 50.5 cm, W 6.5 cm Collection Foroughi, Tehran

128. BRONZE CHEEK PLATES (pis?)

121. SHORT BRONZE SWORD (phs) Pierced by three holes.
With wide central rib, cylindrical hilt, Amlash. 12th-6th c. B.C.
and pommel in form of a ribbed mace. H 6 in; H 15.3 cm
Collection Foroughi, Tehran
Amlash. 12th-6th c. B.C.
H 18i in, W
2 in; L 46 cm, W 5 cm
Collection Foroughi, Tehran

Inscribed Objects from the Foroughi

122. LONG BRONZE SWORD (pi49)
Collection. From Luristan,
With three central ribs; cylindrical,
ribbed hilt; pommel in form of a knobbed Ranging in Date from the
mace. 2 3RD TO the llTH C. B.C.
Amlash. 12th-6th c. B.C.
L 24 in, W
3 in; L 61 cm, W 7.5 cm X29. BRONZE BEAKER (p485)
Collection Foroughi, Tehran
A cuneiform inscription in two lines gives
the name of Eriba-Marduk, king of Baby-
123. BRONZE SWORD (piso) lon.
Hilt, once decorated with ring-shaped in- Luristan. of 2nd— beginning of 1st c. B.C.
End
crustations; the pommel consists of two H 41 in,2t in; H 12 cm, D 6.6 cm
D
triangular discs with button-like corners. Collection Foroughi, Tehran

SIXTY-FOUR
130. BRONZE CUP OF OVOID SHAPE 136. BRONZE AX WITH SOCKET (p27o)
(P486) The blade resembles that of a halberd.
The cuneiform inscription of ten lines Cuneiform inscription in six lines gives
contains a dedication by an oflBcial, the names of Addapaksu, the "sukkal"
named Ishgarum, to a royal prince of of Susa.
Akkad. Luristan. 18th c. B.C.
Luristan. 25th c. B.C. W 4i in; W 10.5 cm
H 2i 3 in; H 5.4 cm, D 7.5
in, D cm Collection Foroughi, Tehran
Collection Foroughi, Tehran Illustrated

131. BRONZE CUP (p487) 137. COMBINATION BRONZE PIKE

Of ovoid shape. The inscription of ten AND AX WITH SOCKET (p27i)
hnes gives the name of Lilul, king of Cuneiform inscription in four lines with
Akkad. the name of Sudurul, king of Akkad.
Luristan. 25th c. B.C.
Luristan. 25th c. B.C.
H 2S in, 41 in; H 6 cm,
D D 12 cm L 61 L 17 cm
in;

Collection Foroughi, Tehran Collection Foroughi, Tehran

132. BRONZE BOWL (p488)

138. SHORT BRONZE SWORD (p272)
Of ovoid shape. The cuneiform inscrip- Flat pommel rounded on top. The oflF

hilt was originally inlaid with incrusta-

tion of four lines gives the name of
tions, now lost. Inscription on one side
Naram-Sin, king of Akkad.
with the name of Nabuchodonosor I,
Luristan. 25th c. B.C.

H D king of Babylon.
3J 5i in; H 8 cm,
in, D 13.3 cm
Collection Foroughi, Tehran Luristan. 12th c. B.C.
L 17} in, W If in; L 45 cm, W 4.3 cm
Collection Foroughi, Tehran
133. BRONZE CUP (p489)
With a small foot, decorated lip, and
straight sides. The cuneiform inscription
139. BRONZE DAGGER (p273)
of three Hnes gives the name of Shu-
With hollow-cast inscription of
hilt. An
sides gives the name of
two lines on both
Ishtar, son of the scribe Izna.
Adad-shum-usur, son of Kashtiliash, king
Luristan. 25th c. B.C.
of Babylon.
H 2 in, D
5i in; H 5 cm, D 13.2 cm
Collection Foroughi, Tehran Liu-istan. 13th c. B.C.
L 12i in, W li
L 31.5 cm,
in; W 4 cm
Collection Foroughi, Tehran
134. BRONZE AX WITH AN
ENGILWED INSCRIPTION (p267) 140. BRONZE DAGGER (P274)
Giving the name of Shilhak-Inshushinak,
With hollow-cast inscription in
hilt. An
king of Susa.
two lines on bothsides gives the name of
Luristan. 12th c. B.C.
Nin-Urta-nadin-shumi, king of Babylon.
L 8S in; L 22 cm
Luristan. 12th c. B.C.
Collection Foroughi, Tehran
bibliography: 16} in, W
If in; L 42.5 cm, W 3.5 cm
Collection Foroughi, Tehran
R. Ghirshman, Iraq, Harmondsworth, 1960.

135. BRONZE AX WITH SOCKET (p269)

141. BRONZE DAGGER (p275)
Hollow-cast with flanges. Inscrip-
hilt
The decorative motifs on the blade are
tion in two hnes on both sides gives the
engraved and in An inscription of
relief.
five respectively, on both
and three hnes,
name of Nabuchodonosor, king of Baby-
lon.
sides of the ax, gives the name of Na-
Luristan. 12th B.C.
buchodonosor I, king of Babylon. On c.

the back of the socket are four spikes,

L 16} in, WL 42.5 cm,
1 in; W 2.7 cm
Collection Foroughi, Tehran
one of which is broken.
Luristan. 12th c. B.C.

6i in; 16 cmL 142. BRONZE DAGGER (p276)

Collection Foroughi, Tehran Hollow-cast with flanges. An inscrip-
hilt
Illustrated tion of two lines on both sides.

SIXTY-FIVE
 Luristan. End of 2nd— beginning of 1st mil B.C. 149. Withdrawn
(?)
L 12 J in. W
1 in; L 31.7 cm, W 2.5 cm 150. BRONZE BAR BIT (pice)
Collection Foroughi, Tehran
On the cheek plates are two winged
animals, seen in profile.
143. BRONZE D.VGGER (p277)
Luristan. 8th-7th c. B.C.
With square blade pierced by holes for
H 38 in, W
38 in; 8.5 cm, H W 8.5 cm
the attachment of the hilt, now lost. Collection Foroughi, Tehran
Cuneiform inscription in two lines gives
the name of Humban-ummena, king of 151. BRONZE BAR BIT (pi67)
Susa. Two sphinxes, seen in profile,
Luristan. 13th c. B.C. Luristan. 8tli-7th c. B.C.
L 14J in; L 37.5 cm H 5J in, W 38 in; H 13 cm, W 8.5 cm
Collectiim Foroughi, Tehran Collection Foroughi, Tehran

144. BRONZE MACE (p278) 152. BRONZE BAR BIT (pies)

Of ribbed, globular shape. Inscription of Horses, seen in profile, with httle bells
thirteen lines with a dedication to a king around their necks.
of Akkad by a "patesi." Luristan. 8th-7th c. B.C.
Lm-istan. 15th c. B.C. H 4J in, W 4i in; H 10.5 cm, W 10.5 cm
H 6i in; H
16.5 cm Collection Foroughi, Tehran
Collection Foroughi, Tehran
153. BRONZE BAR BIT (pi69)
145. BRONZE ARROW HEAD (p279'») Bust of a horned figure, tying up two
Formed both sides,
like a laurel leaf. On wild mountain goats.
Luristan. 8th-7th B.C.
an inscription with the name of Ninurta- c.

kudurri-usur, king of Babylon.

H 38 in, W 7i 8.5 cm,
in; H W 19 cm
Collection Foroughi, Tehran
Luristan. 10th c. B.C.
L 21 in; L
6 cm
154. BRONZE BAR BIT (pi7o)
Collection Foroughi, Tehran
Homed figure, struggling with several
animals.
Luristan. 8th-7th c. B.C.
H 4i in, W 5i
H. 10.5 cm,
in; W 14 cm
Objects from the Foroughi Collec- Collection Foroughi, Tehran
tion. From Luristan. Mostly
10th-8th c. B.C.
155. JOINTED BRONZE BIT, WITH
TWIST DESIGN (pi7i)
Cheek plates in form of rectangles, sur-
146. JOINTED BRONZE BIT (pi62)
mounted by human heads.
Rings held by human hands.
Luristan. B.C.
8tli-7th c.
Luristan. 8th-7th c. B.C.
L 10^ in; L 26.5 cm
H 41 in, W 3h12 cm, H W 9.5 cm
Collection Foroughi, Tehran
Collection Foroughi, Tehran

156. BRONZE BAR BIT (pi72)

147. BRONZE CHEEK PLATE (pies) On the cheek plates two mouflons, in
A person stands on two recumbent wild profile, with their heads seen frontally,
mountain goats; out of their shoulders on top of two small recumbent animals.
issue the heads of two roosters, attacked Luristan. 8th-7th B.C.
c.
by two animals. H 41 in, W 6f in; H 12 cm, W 17 cm
Luristan. 8th-7th c. B.C. Collection Foroughi, Tehran
H 3* in, W
3 in; H 9 cm, W 7.5 cm
Collection Foroughi, Tehran 157. BRONZE BAR BIT (pi73)
Wild mountain goat, in profile, with its
148. BRONZE CHEEK PLATE (pi64) head seen frontally, a bird's head on its
Horse in profile, with two small persons rump.
on its back. Luristan. 8th-7th c. B.C.
Luristan. 8th-7th c. B.C. H 5 in, W 4^ in; H 12.5 cm, W 11.5 cm
H 4i in, W 41 in; H 10.5 cm, W 11 cm Collection Foroughi, Tehran
Collection Foroughi, Tehran Illustrated

SIXTY-SIX
 )

158. BRONZE BAR BIT (pm) 166. BRONZE BAR BIT (pi82)
Two winged wild mountain goats in pro- Figure tying up two fantastic animals.
file, their heads seen frontally. Luristan. 8th-7th c. B.C.
Luristan. 8th-7th c. B.C. H 51 in, W 4i in; H 13.5 cm, W 10.5 cm
H 5 in, W 4i in; H 12.5 cm, W 11.5 cm Collection Foroughi, Tehran
Collection Foroughi, Tehran

167. BRONZE BAR BIT (P18.3)

159. BRONZE BAR BIT ( p 175 Two recumbent horses.
Its cheek plates show buffaloes in pro- Luristan. 8th-7th c. B.C.
file, with their heads seen frontally. H 3J in, W 3i in; H 8 cm, W 9.5 cm
Luristan. 8th-7th c. B.C. Collection Foroughi, Tehran
H 41 in, W 41 in; H 11 cm, W 11 cm
Collection Foroughi, Tehran
168. BRONZE SWORD (pi84)
With long, narrow blade; hilt inlaid with
160. BRONZE BAR BIT (pm) a white stone.
Two walking bulls.
Luristan. 8th-7th c. B.C.
Luristan. 8th-7th B.C. c.
L L 57 cm
22i in;
H 3J in, W
4J in; H 8 cm, W 10.5 cm Collection Foroughi, Tehran
Collection Foroughi, Tehran

161. BRONZE BAR BIT (pm) 169. IRON SWORD (piss)

A figure standing on the back of a winged The upper edge of the
dec- pommel is
orated with two bearded male heads;
horse; under its hooves, two recumbent
its flat sides, with two lion heads, and
animals.
the cross-guard, with two small recum-
Luristan. 8th-7th c. B.C.
H 7 in, W 6i in; H 18 cm, W 16.5 cm bent Hons.
Luristan. 8th-7th c. B.C.
Collection Foroughi, Tehran
L 20i in; L 53 cm
Collection Foroughi, Tehran
162. BRONZE BAR BIT (pits)
Two winged creatures facing a tree.
Luristan. 8th-7th c. B.C. 170. SWORD OF IRON AND BRONZE
H 3^ in, W
5i in; H 9 cm, W 13.5 cm (p 186)
Collection Foroughi, Tehran Hilt of bronze, pommel decorated with
Illustrated two double-faced heads, and cross-guard
with two lions, one of which is now miss-
ing.
163. BRONZE BAR BIT (pitq)
Luristan. 8th-7tlic. B.C.
Two horses seen in profile, their feet
L 22i L
56.5 cm
in;
shackled.
Collection Foroughi, Tehran
Luristan. 8th-7th c. B.C.
H 41 in, W 3J in; H 12 cm, W 8 cm
Collection Foroughi, Tehran 171. BRONZE SWORD (pm)
Pommel decorated with two human
164. BRONZE BAR BIT (pi8o) heads and cross-guard with two smaU
Two walking lionesses. recumbent lions. Ribless blade.
Luristan. 8th-7th c. B.C. Lxiristan. 8th-7th c. B.C.

H 3 in, W 51 in; H 7.5 cm, W 13.5 cm L 16i in; L 42

Collection Foroughi, Tehran
cm
Collection Foroughi, Tehran

165. BRONZE BAR BIT (pisi) 172. BRONZE DAGGER (pi88)

Cheek plates with two wild mountain Its hollow-cast hilt formerly was inlaid
goats, their heads turned outward, stand- with incrustations, now lost; blade with
ing at either side of a tree with a triple long ribs, terminating in the engraved
set of branches. design of a stylized plant.
Luristan. 8th-7th c. B.C. Luristan. 8th-7th c. B.C.
H 3i in, W 2i in; H 8 cm, W 6.5 cm 13i in; L
33.7 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

SIXTY-SEVEN
173. LARGE BRONZE DAGGER (pisq) 181. BRONZE AX (pi99)
Hollow-cast handle without flanges. Up- The blade decorated with a sculptured
is

per part of blade decorated with the en- lion and the socket with five spikes.
graved scene of a kneeling hunter draw- Luristan. 8th-7tlic. B.C.

ing a bow and of a lion facing him on L 81 in; L 22 cm

the opposite side. Collection Foroughi, Tehran
Liu-Lstan.8th-7th c. B.C.
L 17i in; L 44.5 cm 182. BRONZE ADZ (p20o)
Collection Foroughi, Tehran The socket is decorated with the sculpted
heads of horses.
174. BRONZE DAGGER (pi9o) Luristan. 8tli-7th c. B.C.
Its hollow-cast hilt has a flange; the orig- L 7i in; L 18.5 cm
Collection Foroughi, Tehran
inal incrustation in white stone is only
partly preserved.
Luristan. 8th-7th c. B.C. 183. PIKED BRONZE AX (P20i)
L 14J in; L 36 cm The back of the socket is decorated with
Collection Foroughi, Tehran lions in relief and with a star.
Luristan. 8th-7th c. B.C.
175. SMALL DAGGER (pi9i) L 7i in; L 19.5 cm
Collection Foroughi, Tehran
hollow cast and its
Its hilt is blade has
two Hilt and blade are joined
ribs. to- 184. BRONZE HALBERD-AX (p202)
gether by a horseshoe motif. The blade is joined to the socket by
Luristan. 8th-7th c. B.C. means of a bearded human face. The
L 91 in; L 24.4 cm back of the socket shows four spikes.
Collection Foroughi, Tehran
Luristan. 8th-7th c. B.C.
L 9i in; L 24 cm
176. BRONZE DAGGER (pi92) Collection Foroughi, Tehran
Hilt originally inlaid with incrustations, Illustrated

now lost.
Luristan. 8tli-7th c. B.C. 185. BRONZE HALBERD-AX (p203)
L 17J in; L 45 cm The blade from a Hon's head. The
issues
Collection Foroughi, Tehran back of the socket is decorated with three
spikes, two of which are coiled.
Luristan. 8th-7th
177. BRONZE DAGGER (pi93)
L L
16 cm
c. B.C.

6i in;
Hollow-cast hilt; flanges with white stone
Collection Foroughi, Tehran
incrustations. Round pommel shaped to
accommodate the thumb. 186. HALBERD-AX OF BRONZE AND
Luristan. 8th-7th c. B.C. IRON (P204)
14 in; L 35.5 cm The iron blade issues from an animal.
Collection Foroughi, Tehran
The socket is decorated with recumbent
lions, sculpted in the round.
178. WlTHDRAWT^ Luristan. 8th-7th c. B.C.
L 7i in; L
19 cm
179. BRONZE ADZ (pi96) Collection Foroughi, Tehran
The transverse blade issues from an ani-
mal's head. The adz's back is decorated
187. BRONZE AX (p205)
with four feline heads.
The back of the socket is decorated wdth
four heads of wild mountain goats.
Luristan. 8th-7th c. B.C.
L L
19 cm Luristan. 8th-7th c. B.C.
7i in;
Collection Foroughi, Tehran L 81 in; L 22 cm
Collection Foroughi, Tehran

180. BRONZE AX (pi98) 188. BRONZE AX (p206)

A lion's head closes the socket; its back On the back of the socket is a figure,
is decorated with five spikes. seated in front of an animal in the round.
Luristan. 8th-7th c. B.C. Luristan. 8t]i-7th c. B.C.
L 8J L
22.5 cm
in; L 5 in; L 12.5 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

SIXTY-EIGHT
189. PIKED BRONZE AX (P207) Luristan. 8th-7th c. B.C.
A feline animal in the round is on the L 4^ in; L 11.5 cm
Collection Foroughi, Tehran
back of the socket.
Luristan. 8th-7th c. B.C.
L 5i in; L
14 cm
197. SOCKET OF A BRONZE AX (p2i6)
Collection Foroughi, Tehran Decorated with hons in the round.
Luristan. 8th-7th c. B.C.

190. BRONZE AX H 31 9 cm
in; H
(p209) Collection Foroughi, Tehran
Blade decorated with the openwork de-
sign of two facing, rearing animals with- 198. BRONZE AX (p2i7)
in a braided frame. The back of the socket
decorated with is
Luristan. 8th-7th c. B.C. birds, whose heads and wings are given
L 51 in; L 13.5 cm in the round, while their bodies and feet
Collection Foroughi, Tehran
are engraved.
Illustrated
Luristan. 8th-7th c. B.C.
L 51 in; L 13.5 cm
191. AX OF BRONZE AND IRON (p2io) Collection Foroughi, Tehran
The iron blade bronze frame.
is set in a
Socket adorned with an animal head and 199. BRONZE AX (p218)
^
four spikes. Itsblade issues from a Hon's head. The
Luristan. 8th-7th c. B.C. back of the socket is decorated with three
L Si in; L 31 cm volutes.
Collection Foroughi, Tehran
Luristan. 8th-7th c. B.C.
L 5| in; L 13.5 cm
192. BRONZE AX (p2ii) Collection Foroughi, Tehran
With socket. The blade is decorated
with the reUef of wild mountain goats in 200. BRONZE AX (p219)
flying gallop. The back of the socket The back of the socket is decorated with
shows spikes. the relief of two rearing mountain goats
Luristan. 8th-7th c. B.C. on either side of a tree of hfe.
L 8 in; L 20 cm Luristan. 8th-7th c. B.C.
Collection Foroughi, Tehran L 6 in; L 15 cm
Collection Foroughi, Tehran
193. BRONZE AX (P2i2)
Socket in form of a lion, its eyes original- 201. BRONZE AX (p22o)
ly inlaid. The blade grows out of an ani- The back of the socket shows four spikes.
mal. Lvu-istan. 8th-7th c. B.C.
Luristan. 8th-7th c. B.C. L 10} in; L 26.5 cm
L 5^ in; L 14 cm Collection Foroughi, Tehran
Collection Foroughi, Tehran
202. BRONZE HALBERD-AX (P22l)
194. COMBINATION BRONZE ADZ AND Luristan. 8th-7th c. B.C.
AX (P213) L 71 in; L 19.5 cm
The socket is decorated with two human Collection Foroughi, Tehran
faces.
Liuristan. 8th-7th c. B.C. 203. BRONZE AX (p222)
H 5J in, L
8f in; H
13 cm, L 22 cm The blade issues from a
head. lion's
Collection Foroughi, Tehran Back of socket decorated with four boars'
heads.
195. BRONZE HALBERD-AX (p214) Luristan. 8th-7th c. B.C.
Socket decorated with a lion; the blade L 8J L
22.5 cm
in;
grows out of the body of an animal. Collection Foroughi, Tehran
Luristan. 8th-7th c. B.C.
Illustrated
L 61 in; L
17 cm
Collection Foroughi, Tehran 204. BRONZE CHAMFRON (p223)
Geometric decoration in repousse.
196. PIKED BRONZE AX (p215) Luristan. 8th-7th c. B.C.
In form of a horse's head with the mane L lOi in, W 64 in; L 26 cm, W 15.5 cm
indicated on the back of the socket. Collection Foroughi, Tehran

SIXTY-NINE
205. HANDLE OF A BRONZE are three recumbent wild mountain goats
WHETSTONE (p23o) of smaller size.
With tile head of an antelope. Luristan. 8th-7tli c. B.C.

Luristan. 8th-7th c. B.C. H 6i in, W

li in; H 16 cm, W 3.8 cm
L 2A in; L 6.2 cm Collection Foroughi, Tehran
Collection Foroughi, Tehran Illustrated

206. BRONZE WHETSTONE (p23i) 213. BRONZE MACE (p239)

Fonnecl hke the forequarters of an ibex Of ovoid shape, with a hole for the shaft,
witli a young animal under its neck. and decorated with four wild mountain
Luristan. 8tli-7tli c. B.C. goats and eye-like buttons in relief.
L 9J in: L 25 cm Luristan. 8th-7th c. B.C.
Collection Foroughi, Tehran H 3i in, WU
in; 9 cm, H W 3 cm
Collection Foroughi, Tehran

207. HANDLE OF A BRONZE

WHETSTONE (p232) 214. BRONZE BRIDLE RING (p24o)
Formed like the forequarters of an ibex The two joined rings are surmounted by
with a small animal on its back. four movable horses. Their eyes were
Luristan. 8th-7tli c. B.C. originally inlaid with incrustations, now
L 5J in; L 14 cm lost.
Collection Forcmghi, Tehran Luristan. 8th-7th c. B.C.
H 6i in, W6 in; H 16 cm, W 15 cm
208. HANDLE OF A BRONZE Collection Foroughi, Tehran
WHETSTONE (p233)
decorated with the forequarters
Its tip is 215. BRONZE BRIDLE RING (p24i)
of an ibex out of whose neck emerges the Two animals are surmounted by a bull
head of a second ibex; a small animal is with a long beard; probably of Meso-
on the back of the first. potamian workmanship.
Luristan. 8th-7th c. B.C. Luristan. 8th-7th c. B.C.
L 12i in; L 31 cm H 51 in, W
3 in; H
14.5 cm, W 7.5 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

209. HANDLE OF A BRONZE 216. PART OF A BRONZE HARNESS

WHETSTONE (p234) (P242)
Representing an ibex, flanked by gazelles. In form of a ring surmounted by two
Luristan. 8tli-7thc. B.C. recumbent calves.
L Hi in; L
28.5 cm Luristan. 8th-7th c. B.C.
Collection Foroughi, Tehran H 21 in; H 6.8 cm
Collection Foroughi, Tehran
210. HANDLE OF A BRONZE
WHETSTONE (p235) 217. SMALL PIECE FROM A HARNESS
With forequarters of a pair of wild moun- (P243)
tain goats. In form of double rings surmounted by a
Liu-istan. 8th-7th c. B.C. human-faced bull.
L 5i in; L
13 cm Luristan. 8tli-7th c. B.C.
Collection Foroughi, Tehran W 2i in; W 5.7 cm
Collection Foroughi, Tehran
211. HANDLE OF A BRONZE
WHETSTONE (p236) 218. SILVER RING FOR DRAWING A
With the forequarters of an ibex, emerg- BOWSTRING (P244)
ing from the forequarters of a lion. Surmounted by head of a sheep.
Luristan. 8th-7th c. B.C. Luristan. 8th-7th c. B.C.
L 9 in; L 23 cm W li in; W
4 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

212. BRONZE MACE (p238) 219. MINIATURE BRONZE AX (P245)

Decorated with three lions devouring a The back of its socket is decorated with
wild mountain goat. Around the socket four spikes.

SEVENTY
 Luristan. 8th-7th c. B.C. 226. PART OF A BRONZE HARNESS
W 41 in: W
11 cm (P252)
Collection Foroughi, Tehran
In form of double rings, surmounted by
an animal with twin forequarters, being
attacked by two lions.
220. MINIATURE BRONZE AX (p246)
Lmistan. 8th-7th c. B.C.
The blade surmounted by lions biting
is

the muzzle of a wild mountain goat. The

W 3i in; W
9 cm
Collection Foroughi, Tehran
back of the socket is decorated with four
spikes.
Luristan. 8th-7th c. B.C. 227. PART OF A BRONZE HARNESS
W4 in; W 10 cm (P253)
Collection Foroughi, Tehran In form of double rings surmounted by
two recumbent wild mountain goats;
their large horns have caught two per-
221. MINIATURE BRONZE AX (p247) sons who are being bitten by two ani-
The blade from an animal; the
issues
mals.
back of the socket is decorated with three Luristan. 8th-7th c. B.C.
spikes. W 6f in: W 17 cm
Luristan. 8th-7th c. B.C. Collection Foroughi, Tehran
W 21 in; W6 cm
Collection Foroughi, Tehran
228. PART OF A BRONZE HARNESS
(P254)
222. PART OF A BRONZE HARNESS In form of double rings surmounted by
(P248) the head of a wild mountain goat whose
On top of a ring ibexes are being at- large horns are supported by two per-
tacked by two dogs. sons.
Liuristan. 8th-7th c. B.C. Luristan. 8th-7th c. B.C.
W 3i in; W8 cm W 4^ in; W 11.5 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

229. PART OF A BRONZE HARNESS

223. PART OF A BRONZE HARNESS (P255)
(P249) A ring surmounted by two seated figures.
Double rings surmounted by a mouflon Luristan. 8th-7th c. B.C.

and an ibex. D 2f in;6 cmD

Luristan. 8th-7th c. B.C. Collection Foroughi, Tehran
L 41 in; L 11 cm
Collection Foroughi, Tehran
230. MINIATURE BRONZE DAGGER
(P256)
224. PART OF A BRONZE HARNESS Luristan. 8th-7th c. B.C.
(P250) L 5| in; L 13.5 cm
In form of double rings surmounted by Collection Foroughi, Tehran

two mouflons and a young animal be-

tween them. 231. BRONZE PENDANT (p257)
Luristan. 8th-7th c. B.C. In form of foot with shoe.
W 4J in; W12.5 cm
Luristan. 8th-7th c. B.C.
Collection Foroughi, Tehran
L 1^ in; L 4 cm
Collection Foroughi, Tehran

225. PART OF A BRONZE HARNESS

(P25l) 232. PERFORATED BRONZE BELL ( p 258 )

In form of double rings surmounted by With a suspension ring formed by three

three wild mountain goats attacked by birds, the largest of which has spread
dogs (?). wings.
Luristan. 8th-7th c. B.C. Luristan. 8th-7th c. B.C.
W4 in: W 10 cm H 41 in, W 2f in; H 11 cm, W 7 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

SEVENTY-ONE
233. SMALL BRONZE BELL (p259) Luristan. 8th-7th c. B.C.
Surmounted by two feline animals; on H 9 maximum
in, W 6i in; H 23 cm,
maximimi VV 16 cm
top of them is a tree of life flanked by
Collection Foroughi, Tehran
two confronted ibexes in heraldic render-
ing. 239. BRONZE RHYTON (p284»)
Liiristan. 8th-7th c. B.C. In form of a gazelle's head; eyes and
H 48 in, W
2i in; H 11.8 cm, W 6.5 cm eyebrows originally inlaid with incrusta-
Collection Foroiighi, Tehran
tions, now lost. Between the horns is an
engraved representation of a tree of life
234. TWIN VASES OF FIRED CLAY with birds on its branches flanked by
( P 262 ) wild mountain goats. A row of wild
Globular shapes, a long spout, and loop mountain goats is placed on the lip of the
handle. The vessel is supported by four rhyton. The vessel has double walls
animal paws and decorated with crosses, wliich, on the inside, are attached to
triangles, and bands of checkerboard de- each other with bitumen.
sign. Of wine-red color. Northwest. 8th-7th c. B.C.
Luristan. 8th-7th c. B.C. D
H 6 in, 4i in; H 15 cm, D 10.5 cm
L 101 in, H
5} in; L 27 cm, H 14.5 cm Collection Foroughi, Tehran
Collection Foroughi, Tehran Illustrated

235. PITCHER WITH LONG SPOUT, 240. NUDE BRONZE GODDESS (P287)
FIRED CLAY (P263) Holding her her head is sur-
breasts;
Its twin loop handles are made in a dou-
mounted by a delicately chased ibex.
ble twist. A row of running wild moun- The statuette is placed on a striated,
tain goats is bordered by circular bands cone-shaped base.
and a series of hatched triangles. Luristan. 8th-7th c. B.C.
Dec-
oration painted in dark brown.
H Of in, W 1^ in; H 24.5 cm, W 4 cm
Collection Foroughi, Tehran
Luristan. 8th-7th c. B.C.
Illustrated
H 101 in, W
105 in; 27 cm, H W 27.5 cm
Collection Foroughi, Tehran
241. BRONZE FIGURINE OF A WOMAN
(P288)
236. VASE OF FIRED CLAY (p264) Her long held together by a bar-
hair,
The painted decoration in wine red and rette, falls down her back. She wears
black consists of three human figures and large circular earrings and several neck-
two headless animals, framed by hatched laces. Her long robe has wide-hanging
triangles. sleeves which form a series of parallel
Luristan. 8th-7th c. B.C. folds on her back. Decorated belt. She
H 5^ in, maximvun W 51 in; H 14 cm, is shown in the gesture of the chaste Ve-
maximum W 13 cm nus with one hand on her right breast,
Collection Foroughi, Tehran
while the other is in her lap. The statu-
ette is hollow cast and attached to a sup-
237. 0\'OID JAR OF YELLOW FIRED port that is higher than her head and
^
CLAY (P265) crowned by a bird.
With The wine-red painted
flaring neck. Luristan. 8th-7th
c. B.C.
decoration consists of a row of wild H 3* in, W
1 in; 9 cm, H W 2.5 cm
mountain goats running to the right, and Collection Foroughi, Tehran
circular bands. Illustrated

Liunstan. 8th-7th B.C.

H maximimi
7i in,
c.

W 8f in; H 19 cm,
242. BRONZE PLAQUE WITH A
maximimi 22 cm W SUSPENSION RING (P289'»)
Collection Foroughi, Tehran Openwork design shows two nude female
divinities each holding a breast with one
hand and a hut-shaped motif with the
238. SMALL JAR OF YELLOW FIRED other.
CLAY (P266) Luristan. 8th-7th c. B.C.
Of ovoid shape \\i\h flaring neck. The H 4 in, W 4S in; H 10 cm, W 11.7 cm
ornamentation consists of a checkerboard Collection Foroughi, Tehran
design and circular bands in wine red. Illustrated

SEVENTY-TWO
243. EX-VOTO BRONZE IDOL (P293) Luristan. 8th-7th c. B.C.
Two facing horses in heraldic rendering; H 71 in; H 19.5 cm
Collection Foroughi, Tehran
their manes are indicated by superim-
posed discs.
Luristan. 8th-7th c. B.C. 250. THE DOUBLE-HEADED GOD
H 4J in; H 10.5 cm SRAOSHA (?), BRONZE (p30o)
Collection Foroughi, Tehran He holds two double-headed roosters
menacing two small horses that stand on
244. EX-VOTO BRONZE IDOL (p294) the hips of the god.
Two long-necked, menacing animals Luristan. 8th-7th c. B.C.

with open muzzles are shown in a heral- H 8 in; H

20 cm
Collection Foroughi, Tehran
dic position.
Luristan. 8th-7th c. B.C.
H 4i in; H
10.5 cm 251. THE GOD SRAOSHA (?) WITH
Collection Foroughi, Tehran TWO DOUBLE-FACED HEADS,
BRONZE (P30i)
245. EX-VOTO BRONZE IDOL (p295) Flanked by two roosters fighting with
Two long-necked, dragon-like
animals of long-necked animals.
a menacing mien are shown with open Luristan. 8th-7th c. B.C.

muzzles. Around the middle of their H 8J in; H

22.5 cm
bodies are horned human masks. Collection Foroughi, Tehran

Luristan. 8th-7th c. B.C.

H 5f in; H
14.5 cm 252. THE GOD SRAOSHA (?) WITH
Collection Foroughi, Tehran TWO DOUBLE-FACED HEADS,
BRONZE (P302)
246. EX-VOTO BRONZE IDOL (p296) Flanked by two heads of roosters fight-
Two long-necked, menacing animals with ing with two animals whose long necks
open muzzles are rendered in heraldic are covered with birds.
fashion. Two heads of wild mountain Luristan. 8th-7th c. B.C.
goats are attached under their heads. L 61 in; L
17.5 cm
Two similar, menacing heads appear Collection Foroughi, Tehran

next to their paws, while two feline crea-

tures are attached to their bodies. 253. THE DOUBLE-FACED GOD
Luristan. 8th-7th c. B.C.
SRAOSHA (?), BRONZE (p303)
H 7i in; H 18.5 cm Flanked by two heads of roosters who
Collection Foroughi, Tehran are struggling with long-necked animals.
Luristan. 8th-7th c. B.C.

247. EX-VOTO BRONZE IDOL (p297) H 6i in; H

16 cm
Two facing ibexes in heraldic rendering. Collection Foroughi, Tehran

Two birds are applied to their bodies.

Luristan. 8th-7th c. B.C.
254. THE GOD SRAOSHA (?) WITH
H 51 in; H
14.5 cm TWO DOUBLE-FACED HEADS,
Collection Foroughi, Tehran BRONZE (P304)
Flanked by two heads of roosters who
248. EX-VOTO BRONZE IDOL (p298) are fighting with two animals in inverted
Two facing ibexes with wings and long positions.
horns are rendered in heraldic fashion. Luristan. 8th-7th c. B.C.

On their elongated bodies are two feline H 7J in; H

19 cm
animals. Collection Foroughi, Tehran

Lmistan. 8th-7th c. B.C.

H 7i in; H 19 cm 255. THE GOD SRAOSHA (?) WITH
Collection Foroughi, Tehran FOUR DOUBLE-FACED HEADS,
BRONZE (P305*)
249. THE GOD SRAOSHA (?) WITH Flanked by two heads of roosters en-
TWO DOUBLE-FACED HEADS, gaged in a struggle with two animals
BRONZE (P299) whose long necks are covered with six
Flanked by two heads of roosters fighting double-faced heads. Below them, two
with long-necked animals. A double- calves are being attacked by two long-
faced rooster's head is placed at the belt. necked animals.

SEIVENTY-THREE
 Luristan. 8th-7tli c. B.C. Luristan. 8th-7th c. B.C.
H 8} in; H 22.2 cm H 4i in; H 12 cm
Collection Forcnighi, Tehran Collection Forotighi, Tehran

256. THE TWIN-HEADED, TWO-FACED 263. BRONZE IDOL (psis)

GOD SRAOSHA (?), BRONZE Half man, half animal; two seated per-
( P 306 )
sons emerge from its shoulders and are
Flanked by two heads of roosters strug- placed onneads of bovines.
gling witli two animals,
Liuistan. 8th-7th c. B.C.
Luristan. 8th-7th c. B.C. H 41 in; H
12 cm
H 84 in; H
20.7 cm
Collection Foroughi, Tehran
Collection Foroughi, Tehran

257. THE TRIPLE-HEADED, TWO- 264. Withdrawn

FACED GOD SRAOSHA (?),
BRONZE (P307) 265. BRONZE IDOL (psis)
Flanked by four heads of roosters (the Half man, half animal, with two human
rooster is the god's attribute). busts rising from its shoulders.
Luristan. 8th-7th c. B.C. Luristan. 8th-7th
c. B.C.

H 7i in; H
18.5 cm H 4 in: H
10 cm
Collection Forotighi, Tehran Collection Foroughi, Tehran

258. BRONZE IDOL (psos) 266. BRONZE IDOL (psie)

Flanked by two heads of wild mountain Half man, half animal; two small human-
goats fighting with two long-necked, faced animals replace its arms.
dragon-like animals. Luristan. 8th-7th c. B.C.
Luristan. 8th-7th c. B.C. H 4 in: H
10 cm
H 64 in; H
15.5 cm Collection Foroughi, Tehran
Collection Foroughi, Tehran

259. BRONZE IDOL ON A PINHEAD 267. BRONZE IDOL ON TOP OF A PIN

(P309) (P317)
Half human, half animal; two forequar- Fixed to its base by means of a pin shaft.
ters of wild mountain goats emerge from
The long-bearded idol with breasts indi-
cated wears a pleated skirt; two wild
its shoulders, replacing its arms.
mountain goats emerge from its shoul-
Luristan. 8th-7th c. B.C.
ders replacing the arms.
H 51 in; H 13.5 cm
Collection Foroughi, Tehran Luristan. 8th-7th c. B.C.
H 91 H
24.5 cm
in;
Collection Foroughi, Tehran
260. BRONZE IDOL ON A PIN (p3io)
Two dragons bite a human head.
Lvuistan. 8th-7th c. B.C. 268. BRONZE FIGURINE OF A
H 4i in; H 11.5 cm BEARDED HERMAPHRODITIC
Collection Foroughi, Tehran DIVINITY (P3i8)
Holding its breasts
261. BRONZE IDOL (P3ii) Luristan. 8th-7th c B.C.
Formed by the heads of bovine animals; H 4f in; H 12 cm
they are flanked by two bearded human Collection Foroughi, Tehran

busts whose hands rest on two roosters'

heads; the whole emerges from a lion's 269. DOUBLE-FACED BRONZE IDOL
head seen from above. (P319)
Luristan. 8th-7th c. B.C. With hands brought to the front; two
its
H If in; 4.5 cmH long-necked human heads emerge from
Collection Foroughi, Tehran
its shoulders; the lower part of its body
is rendered as animal hindquarters.
262. BRONZE IDOL (p312) Luristan. 8th-7th c. B.C.
Half human, half animal; two winged H 41 in; 11 cm H
horses emerge from its shoulders. Collection Foroughi, Tehran

SEVENTY-FOUR
270. DOUBLE-FACED FEMALE BRONZE 277. BRONZE IDOL (pss?)
FIGURINE (P320) A bearded personage with a globular
With hands brought to the front. The coiffure places its arms over the abdo-
figurine forms the head of a votive pin; men. The figure is set on a vase-shaped
it has a tube-hke opening into which a support.
pin shaft, now lost, was originally placed. Luristan. 8th-7th c. B.C.

Luristan. 8th-7th c. B.C. H 10^ 26.5 cm

in; H
H 2f in; 7 cm H Collection Foroughi, Tehran
Collection Forotighi, Tehran
278. BRONZE FIGURE (p328)
On a two-wheeled chariot pulled by two
271. EX-VOTO BRONZE IDOL IN dogs.
FORM OF A PIN (p32i)
Luristan. 8th-7th c. B.C.
The composition similar to no. 270, but
is
H If in, 2J in; W 4.5 cm, H W 5.5 cm
it is enriched with several spirals and Collection Foroughi, Tehran
terminates in a pomegranate. Illustrated
Luristan. 8th-7th c. B.C.
H 14^ in, W4 in; H 37 cm, W 10 cm 279. PINHEAD IN THE FORM OF A
Collection Foroughi, Tehran BRONZE STATUETTE (p329)
A hermaphroditic figure whose two sides
272. BRONZE STATUETTE OF A represent the two sexes. In the center of
BEARDED HERMAPHRODITIC the head is a circular hole for attaching
DIVINITY (p 322)
the pin shaft, now lost.
Holding its breasts; two heads of roosters Luristan. 8th-7th c. B.C.
emerge from its shoulders. H 3J in, li in; W 9.5 cm, H W 3 cm
Collection Foroughi, Tehran
Luristan. 8th-7th c. B.C.
Illustrated
H 6i in; H 15.5 cm
Collection Foroughi, Tehran
280. EX-VOTO BRONZE IDOL (p33o)
Two confronted ibexes with long horns
273. BRONZE STATUETTE OF A are rendered in heraldic fashion; at-
BEARDED DIVINITY (p323) tached to their bodies are two small hu-
Wearing a long skirt; two birds are man figures. The foot is in the form of a
perched on its shoulders, another one on vase into which the pin of the idol has
its head. been placed.
Luristan. 8th-7th c. B.C. Luristan. 8th-7th c. B.C.
H 5t in; H
13.5 cm H 131 in, W 4i in; H 34 cm, W 12 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

281. BRONZE BEAKER (p335)

274. Withdrawn Decorated with two human-headed
winged bulls.
275. BRONZE STATUETTE OF A Luristan. 8th-7th c. B.C.

HERMAPHRODITIC DIVINITY H 6f in, D

21 in; 17 cm, H D 6 cm
(P325) Collection Foroughi, Tehran

Holding its breasts.

Luristan. 8th-7th c. B.C.
282. BRONZE PITCHER (P336)
With pinched the handle is decorated
lip;
H 4 10 cm
in; H with engraved palmettes and ends in a
Collection Foroughi, Tehran
large thumb rest; under the lip is an
Aramaic inscription in two lines.
276. BRONZE IDOL IN FORM OF A PIN Luristan. 8th-7th c. B.C.
( P 326 )
H 6i in, D
4 in; 16.5 cm, H D 10 cm
Two facing ibexes, in heraldic rendering, Collection Foroughi, Tehran
are attacked by two monsters. The pin
is placed in a club-like support which 283. FOOTED BRONZE VESSEL WITH
terminates in an ibex. A LONG SPOUT (p337)
Luristan. 8th-7th c. B.C. Luristan. 8th-7th c. B.C.
H 124 in, W 5i32 cm,
Collection Foroughi, Tehran
in; H W 13 cm H 6 in, L m in;
Collection Foroughi, Tehran
H 15 cm, L 26.5 cm

SEVENTY-FIVE
284. SPOUTED BRONZE VESSEL (p338) Luristan. 8th-7th c. B.C.
In shape of a sauce-boat with a fluted H 4i in, D 48 in; II 12 cm, D 11 cm
Collection Foroughi, Tehran
body; the haiulle is decorated with two
fishes; the wide grooves on top are sepa-
rated by pahnettes. 292. BRONZE BEAKER (p346)
Luristan. 8th-7th c. B.C. With the representation of a banquet
H 34 in. L 10 in; H 8 cm, L 25 cm scene, in repouss6.
Collection Foroughi, Tehran Luristan. 8th-7th c. B.C.
H 5J in, D
2J in; H 13 cm, D 5.5 cm
Collection Foroughi, Tehran
285. BRONZE RHYTON (p339) Illustrated
Shaped hke a hon head with open jaws.
Luristan. 8th-7th c. B.C.

H 3i in, D
3i in; H 9 cm, 9 D cm 293. BRONZE BEAKER (p347)
Collection Foroughi, Tehran Representation of a kneeling hunter
shooting at a wild mountain goat.
286. BRONZE RHYTON (p34o) Luristan. 8th-7th c. B.C.

In the form of a lion head devouring a

H 41 in, D
2 in; H 11 cm, D 5 cm
Collection Foroughi, Tehran
person. The neck is decorated with a
series of birds turned to the right and left.
The work is executed in repouss^ and 294. BRONZE BEAKER (P348)
engraved. With the representation of a lion attack-
Luristan. 9th-7th c. B.C.
ing a bull.
H 41 in, 3JD in; H 11 cm, D 9.8 cm Luristan. 8th-7th c. B.C.

Collection Foroughi, Tehran H 5 in, D

2i in; H 12.5 cm, D 5.5 cm
Collection Foroughi, Tehran

287. SMALL BRONZE VESSEL (p34i)

The cylindrical spout is surmounted by 295. SMALL BRONZE (P349) BOWL
heads of wild mountain goats, while the Set on a tripod decorated with birds.
circular handle is decorated wdth a horse Luristan. 8th-7th
c. B.C.
head. H 81 in, D
Si in; H 21.3 cm, D 7 cm
Collection Foroughi, Tehran
Luristan. 8th-7th c. B.C.

H 3i in,6i in; H 8.3 cm,

L L 16 cm
Collection Foroughi, Tehran 296. SMALL BRONZE BOWL (psso)
With a tripod in the shape of a triple-
288. SMALL BRONZE VASE (p342) headed bird.
In shape of an amphora with a pointed Luristan. 8th-7tJi B.C. c.

base and two small suspension loops. H 4i in, D 11.2 cm,

15 in; H D 4.7 cm
Collection Foroughi, Tehran
Luristan. 8th-7th B.C. c.
D
H 4i in, IJ in; H 10.5 cm, D 3 cm
Collection Foroughi, Tehran 297. SILVER BOWL (pssi)
With bulging body and large flaring
289. BRONZE BOWL WITH FOOT (p343) Hp.
The decor, in repousse, consists of fishes, Luristan. 8th-7t]i c. B.C.

triangles, and hatched areas. H 21 in, D

41 in: H 6 cm, D 11 cm
Collection Foroughi, Tehran
Luristan. 8th-7th c. B.C.
H 4i in, D 4i in; H 11 cm, D 11.5 cm
Collection Foroughi, Tehran 298. BRONZE BOWL (P352)
Of the same shape as no. 297.
290. BRONZE LADLE (p344) Luristan. 8th-7th c. B.C.

With a disk-shaped foot and a short bent H 2f in, D

5 in; H 6.8 cm, D 12.5 cm
handle terminating in a horse s head. Collection Foroughi, Tehran

Liuristan. 8th-7th c. B.C.

H 7i in, D
2i in; 18.5 cm, H D 6.5 cm 299. BOWL OF RED FIRED CLAY (P353)
Collection Foroughi, Tehran Of the same shape as no. 297 and no.
298.
291. COMBINATION BRONZE SIEVE Luristan. 8th-7th c. B.C.
AND FUNNEL (p345) H 3i in, D
5 in; 9.4 cm,H D 12.8 cm
With a hooked handle. Collection Foroughi, Tehran

SEVENTY-SIX
300. BRONZE BOWL (P354) 307. BRONZE BOWL WITH PLAIN RIM
With a flat bottom and a wide flaring rim. (P36l)
The decoration consists of ohve-shaped On the outside decorated with thirteen
forms around a central eighteen-petalled finger-shaped forms, in repousse.
rosette. Luristan. 8th-7th c. B.C.

Luristan. 8th-7th c. B.C. H 21 in, D

4S in; H
6 cm, D 11.7 cm
H 2 in, D
6 in; 5 cm,H 15 D cm Collection Foroughi, Tehran
Collection Foroughi, Tehran

308. SMALL SILVER BOWL

(p362)
301. BRONZE BOWL (P355) Decoration with four leaves, in repousse.
Decorated with oHve-shaped forms and Luristan. 8th-7th c. B.C.
lozenges, in repousse. H IJ in, D 4J in, Wt 5 oz; H 3 cm, D 11.5 cm,
Luristan. 8th-7th c. B.C. Wt 140 g
H 2J in, D
6i in; 5.5 cm,H D 16.5 cm Collection Foroughi, Tehran
Collection Foroughi, Tehran
309. SILVER BOWL (p363)
302. STRAIGHT-WALLED BRONZE With a raised center. The decoration
BOWL (P356) consists of lanceolated motifs, in re-
With a raised center; the decoration, in pousse.
repouss^, consists of lanceolated leaves. Luristan. 8th-7th c. B.C.
Luristan. 8th-7th c. B.C. H If in, D
61 in, Wt 8J oz; H 4 cm,
H If in, D
7i in; 3.5 cm, H D 18.4 cm D 17.5 cm, Wt 230 g
Collection Foroughi, Tehran Collection Foroughi, Tehran

303. BRONZE BOWL (p357) 310. BRONZE BOWL (p364)

Decorated with lanceolated motifs alter- With a raised center. The decoration
nating with palmettes around a raised consists of olive-shaped forms which al-
center. ternate with lotus flowers.
Luristan. 8th-7th c. B.C. Luristan. 8th-7th c. B.C.
H If in, D
7 in; H 3.5 cm, D 17.8 cm H 2 in, D 5i in; H 5.3 cm, D 13.4 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

304. SMALL BRONZE BOWL (psss) 3n. BRONZE BOWL (P365)

With a raised center and a fluted exterior. The decor, in repousse, is formed by two
The main interior decoration consists of circular rows of olive-shaped forms al-
lotus buds and flowers arranged in a cir- ternating, near the rim, with styHzed
cle around an engraved palmette. lotus flowers and with palmettes around
Luristan. 8th-7th c. B.C. the raised center.
HU in, D 6J in; H 3.7 cm, D 15.5 cm Lvuistan. 8th-7th c. B.C.
Collection Foroughi, Tehran H If in, D
6J in; 4 cm, H
17.5 D cm
Collection Foroughi, Tehran
305. SMALL BRONZE BOWL (P359)
With a raised center covered by a rosette. 312. BRONZE BOWL (psee)
The engraved decor depicts four sphinxes With a raised center. It is decorated with
in front of four sacred trees. circle A olive-shaped forms alternating with styl-
of leaves is placed between the rosette ized lotus flowers the work is executed
and the sphinxes. in repousse.
Luristan. 8th-7th c. B.C. Luristan. 8th-7th c. B.C.
H If in, D
li in; 4 cm, H D 4.8 cm H If in, D
7f in; 3.5 cm,H D 19.4 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

306. ENGRAVED BRONZE BOWL (p36o) 313. BRONZE BOWL (pse?)

With a circle of fishes on the inner rim. With a raised center. It is decorated with
On the bottom are leaf decorations ar- four circular rows of olive-shaped forms,
ranged in two concentric circles. in repousse.
Luristan. 8th-7th c. B.C. Luristan. 8th-7th c. B.C.
H If in, D
6 in; H 4.5 cm, D 15.2 cm H li in, D
8 in; 3.2 cm,H D 20.3 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

SEVENTY-SEVEN
314. BRONZE BOWL (pses) 322. BRONZE FIBULA (p38o)
With wide flaring lip. Tlie olive-shaped The pin emanates from a human head,
designs are in higii relief. and its tip is fastened under the chin of a
Luristan. 8th-7th c. B.C. woman. At the base are two heads of
D
H 21 in. 71 in; 5.8 cm,H D 18.5 cm wild mountain goats.
Collection Forotighi, Tehran Luristan. 8th-7th c. B.C.
L 2 in; L 5 cm
Collection Forotighi, Tehran
315. SILVER VASE (p37o)
The long spout attached to the body
is

with hemispherical rivets.

323. BRONZE FIBULA (p382)
The spring comes out of a male head,
Luri.stan. Sth-7th c. B.C.
while the tip of the pin is placed into a
H 3i in, L 9 in, Wt 16i oz; H 8.3 cm,
L 23 cm, Wt 470 g hand with folded fingers.
Collection Forotighi, Tehran Luristan. 8th-7th c. B.C.
L 3J in; L 8 cm
Collection Forotighi, Tehran
316. BRONZE PITCHER (p37i)
The long spout is attached to the body
324. LARGE BRONZE FIBULA (p383)
with hemispherical rivets; the heads are With a spring.
in the form of a winged male divinity.
Luristan. 8th-7th c. B.C.
Luristan. 8th-7th B.C. c. L 4J in; L 12 cm
H 4J in, L 8J; H 10.5 cm, L 22.5 cm Collection Forotighi, Tehran
Collection Foroughi, Tehran

325. DOUBLE BRONZE FIBULA (P384)

317. SMALL BRONZE BOWL (p375) With a spring.
The handle is in form of a recumbent Luristan. 8th-7th c. B.C.
gazelle. L 4J in;10.5 cmL
Luristan. 8th-7th B.C. c. Collection Foroughi, Tehran
L 5^, W 25 14 cm,
in; L 7 W cm
Collection Foroughi, Tehran 326. EX-VOTO BRONZE PIN (p385)
The decorated, in repousse, with
disc is

318. BRONZE PIPE (pstg) two persons holding serpents.

In shape of an elongated gazelle. Luristan. 8th-7th c. B.C.
Luristan. 8th-7th c. B.C. L lOf in, D
5i in; L 27 cm, D 13 cm
L Collection Foroughi, Tehran
5i in; L 13 cm
Collection Forotighi, Tehran
327. EX-VOTO BRONZE PIN (p386)
319. BRONZE PIPE (p377)
A disc is decorated with a divinity's face

The tip is decorated with an animal which ends at the chin.

Luristan. 8th-7th c. B.C.
head.
Luristan. 8th-7th c. B.C.
L 6 in, D
41 in; L 15 cm, 11 D cm
Collection Foroughi, Tehran
L 6i in; L 16 cm
Collection Forotighi, Tehran
328. EX-VOTO BRONZE PIN (p387)
The head formed by a pair of ibex
is
320. SILVER FIBULA (P378)
heads and a young animal behind them.
Its arch is ornamented with movable
Luristan. 8th-7th c. B.C.
rings.
L Hi in; L 28.5 cm
Luristan. 8th-7th c. B.C. Collection Forotighi, Tehran
L IJ in; L 4.5 cm
Collection Foroughi, Tehran
329. EX-VOTO BRONZE PIN (p388)
The formed by the heads of two
top is
321. BRONZE FIBULA (P379) wild mountain goats; a bird and a young
In shape of an ibex; the pin was placed wild mountain goat grow out of the
into the bent paw of the animal. sides of their necks.
Luristan. 8th-7th c. B.C. Luristan. 8th-7th c. B.C.
L If in; L 4 cm L lOf in; L 27 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

SEVENTY-EIGHT
330. EX-VOTO BRONZE PIN (P389) 338. EX-VOTO BRONZE PIN (p397)
The head shaped Uke a wild mountain
is Surmounted by two human figures in the
goat, from whose long neck emerge two round, seated back-to-back.
bovine heads, while a small quadruped Luristan. 8th-7th c. B.C.
is set on the goat's back. L 84 in; L 20.5 cm
Collection Foroughi, Tehran
Luristan. 8th-7th c. B.C.
L 9i in; L 25 cm
Collection Foroughi, Tehran 339. LARGE BRONZE PINHEAD (p398)
With openwork decoration. Inside the
331. EX-VOTO BRONZE PIN (p39o) frame with herringbone design, a front-
Surmounted by the head of a winged ally seen figure with long goat horns is
wild mountain goat. struggling with two animals. The shaft
Luristan. 8th-7th c. B.C. of the pin is now lost.
L 11 in; L 28 cm Luristan. 8th-7th c. B.C.
Collection Foroughi, Tehran H 5 in, W 44 in; H 12.5 cm, W 10.5 cm
Collection Foroughi, Tehran
332. EX-VOTO BRONZE PIN (p39i)
Surmounted by the head of a wild moun- 340. BRONZE PINHEAD (p399)
tain goat. The openwork design shows a running
Luristan. 8th-7th c. B.C. figure fighting with animals. The shaft
L 7i in; L 19 cm of the pin is now lost.
Collection Foroughi, Tehran Luristan. 8th-7th c. B.C.
H 2i in; H
6.5 cm
333. BRONZE NEEDLE (p392) Collection Foroughi, Tehran
With its head shaped like a bird.
Luristan. 8th-7th c. B.C. 341. EX-VOTO PINHEAD OF BRONZE
L 231 in; L 60 cm (P400)
Collection Foroughi, Tehran
Openwork decoration of a long-robed
figure fighting with two animals. The
334. LONG BRONZE PIN (P393)
shaft of the pin is now lost.
With a square head in openwork design.
Luristan. 8th-7th c. B.C.
Within a square frame, two persons on H 31 in; H
9 cm
animals are seen struggling with two Collection Foroughi, Tehran
other animals.
Luristan. 8th-7th B.C.
L 191 in; L 50
c.
cm
342. BRONZE PINHEAD (p40i)
Collection Foroughi, Tehran
With openwork decoration showing a
person struggling with long-necked ani-
335. SILVER PIN (p394)
mals. The iron shaft of the pin, which
grew out of a mask, is now lost.
With the engraved decoration of a
Luristan. 8th-7th c B.C.
spread eagle surmounted by stars.
Luristan. 8th-7th c. B.C.
H 24 in, W
24 in; 6.5 cm, H W 6.5 cm
Collection Foroughi, Tehran
L 8 in; L 20 cm
Collection Foroughi, Tehran
343. BRONZE PINHEAD (p402)
336. SILVER PIN (P395) A person fighting with two animals. The
Of the same shape as no. 335; its triangu- pin shaft is now lost.

lar head shows an engraved decoration Liuristan. 8th-7th c. B.C.

and is surmounted by bulls' heads. H 3 in, W 14 in; H 7.8 cm, W 4.7 cm
Collection Foroughi, Tehran
Luristan. 8th-7th c. B.C.
L 8i in; L 20.5 cm
Collection Foroughi, Tehran 344. BRONZE PINHEAD (p403)
Openwork design with a winged figure
337. EX-VOTO BRONZE PIN (p396) struggling with animals. The now lost
Its head with openwork design shows a shaft of the pin emanated from a lion
seated person within a frame. head.
Luristan. 8th-7th c. B.C. Luristan. 8th-7th c. B.C.
L lOi in; L 26 cm H 3 in, W 44 H. 7.5 cm,
in; W 10.5 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

SEVENTY-NINE
 ) ))

345. BRONZE PINHEAD (P 404) 353. EX- VOTO BRONZE PIN (P4i2)
Showing a recumbent horse, The iron The head of the pin is shaped like a
shaft of the pin is now lost. gazelle.
Luristan. 8t]i-7th c. B.C. Liiristan. 8tli-7th c. B.C.
L 3i in; L 8 cm L 115 in; L 30 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

346. EX- VOTO BRONZE PIN (p405)

354. BRONZE PINHEAD (p413)
Disc with openwork representation of a
Surmounted by two seated human figures
person fighting with two animals. The
back to back. (cf. with no. 338).
shaft of the pin is now lost.
Luri-stan. 8th-7th c. B.C.
Luristan. 8th-7th c. B.C.
L 8i in; L 22.5 cm
Collection Foroughi, Tehran
H 31 in; H
8.5 cm
Collection Foroughi, Tehran

347. EX-VOTO BRONZE PIN (p406) 355. BRONZE PINHEAD (p4i4)

Topped by a nude figure. A person engaged in a struggle with two
Lm-istan. 8th-7th c. B.C. animals. The shaft of the pin is now lost.
L 7i in; L
18 cm Luristan. 8th-7th c. B.C.
Collection Foroughi, Tehran H 2i in; H 7 cm
Collection Foroughi, Tehran

348. EX-VOTO BRONZE PIN ( p 407

A person is
Disc-shaped. engaged in a
356. Withdrawn
struggle with two animals.
Luristan. 8th-7th c. B.C. 357. BRONZE PINHEAD (p4i6)
L 6^ in; L 16.5 cm Two lions are rendered in heraldic fash-
Collection Foroughi, Tehran ion. The pin shaft is now lost.
Luristan. 8th-7th c. B.C.
H 2t in; H 6 cm
349. EX-VOTO BRONZE PIN p 408 ( Collection Foroughi, Tehran
Decorated with two birds' heads back to
back. BRONZE PINHEAD
358. ( p 4i7
Liuistan. 8th-7th c. B.C. In form of a frog. The iron shaft of the
L 91 in; L 24.5 cm pin is now lost.
Collection Foroughi, Tehran
Luristan. 8th-7th c. B. C.
L If in; L 4 cm
Collection Foroughi, Tehran
350. EX-VOTO BRONZE PIN ( p 409 )
Surmounted by two facing gazelles'
heads. ^^^• BRONZE PINHEAD ( p 4i8
Luristan. 8th-7th c. B.C.
Representing a walking animal with its
L 91 in; L 25 cm head turned backwards. The shaft of
Collection Foroughi, Tehran the pin is now lost.
Luristan. 8th-7th c. B.C.
L If in; L 4 cm
251. EX-VOTO BRONZE PIN (p41o) Collection Foroughi, Tehran
Two animals, in heraldic rendering, flank
a tree. 360. EX-VOTO PINHEAD, BRONZE (p 4i9)
Luristan. 8th-7th c. B.C. A recumbent animal looking backwards.
L 8J in; L 22.5 cm The iron shaft of the pin is now lost.
Collection Foroughi, Tehran
Luristan. 8th-7th c. B.C.
L 2| in; L 6 cm
352. EX-VOTO BRONZE PIN (p41i) Collection Foroughi, Tehran

Two animals, in heraldic rendering, flank

a tree. 361. EX-VOTO BRONZE PIN ( p 420

Luristan. 8th-7th c. B.C. The bronze pinhead decorated with a

is

L 7 in; L 18 cm recumbent animal. The pin shaft is of

Collection Foroughi, Tehran iron.

EIGHTY
 )

Luxistan. 8th-7th c. B.C. Luristan. 8th-7th c. B.C.

L 5i in; L 14 cm L If in; L 4.3 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

362. CYLINDRICAL BRONZE SEAL 369. BRONZE STATUETTE OF A

(P424*) ROOSTER (p43i)
The seal at the bottom is formed by a With triple heads. A small suspension
seven-petaUed rosette. The walls of the ring is on its back.
cylinder are engraved with the represen- Luristan. 8th-7th c. B.C.

tation of an animal carrying on its back H If in, W

If; 4.5 cm, H W 4.2 cm
several signs and attributes of divinities. Collection Foroughi, Tehran
The ring for the attachment of the seal
is in the form of a bearded head. 370. BRONZE STATUETTE OF A
Luristan. Neo-Babylonian. 6th c. B.C. ROOSTER (p432)
H If in, D
S in; 3.6 cm, H
0.9 cm D With a small suspension ring on itsback.
Collection Foroughi, Tehran Luristan. 8th-7th c. B.C.
H 21 in, W 2i in; H 6 cm, W 6.3 cm
363. BRONZE SUPPORT (p425) Collection Foroughi, Tehran
In form of a small bell, surmounted by
three mouflon heads. 371. BRONZE STATUETTE OF A HORSE
Luristan. 8th-7th c. B.C. ( P 433 )
H 3 in; H 7.5 cm With a small suspension ring on its back.
Collection Foroughi, Tehran Luristan. 8th-7th c. B.C.
H IJ in, W
IJ in; 4.8 cm, H W 4.7 cm
364. BRONZE SUPPORT (p426) Collection Foroughi, Tehran
With three confronted rearing ibexes.
Luristan. 8th-7th c. B.C. 372. BRONZE STATUETTE OF A STAG
H 41 in; H
11 cm (P434)
Collection Foroughi, Tehran With a small suspension ring on itsback.
Luristan. 8th-7th c. B.C.
365. DIVINITIES, BRONZE (p427) H 2f in, W2 in; H 6.8 cm, W 4.9 cm
Collection Foroughi, Tehran
Female (?) and male.
Luristan. 8th-7th c. B.C.
H 3i in, W 2i in; H 8 cm, W 6.5 cm 373. BRONZE STATUETTE OF A WILD
Collection Foroughi, Tehran MOUNTAIN GOAT p 435 (

With a suspension ring on its back.

366. FEMALE (?) DIVINITY, BRONZE Luristan. 8th-7th
W 2J
c. B.C.

(P428*)
H 3J in, in; H 8 cm, W 5.5 cm
Collection Foroughi, Tehran
Seated sideways on the joined forequar-
ters of two horses and holding their
374. BRONZE STATUETTE OF A WILD
heads with her hands.
MOUNTAIN GOAT (P436)
Luristan. 8th-7th c. B.C.
Set on a pedestal.
H 21 in, W
i in; 6.3 cm, H W 5.5 cm Luristan. 8th-7th c. B.C.
Collection Foroughi, Tehran
Illustrated
H 4i in, W
2i in; 10.5 cm, H W 6.5 cm
Collection Foroughi, Tehran

367. BRONZE TOOL SET (p429) 375. BRONZE STATUETTE OF A BULL

A chisel and an awl aremounted on a (P437)
small square frame within which is With a collar.
shown a double-faced kneeling person Luristan. 8th-7th c. B.C.
in a praying postmre; his eyes are inlaid. H 21 in, W 3f in; H7.3 cm, W 9.5 cm
Luristan. 8th-7tli c. B.C. Collection Foroughi, Tehran
H 4i in, W
If in; 10.8 cm, H W 3.4 cm
Collection Foroughi, Tehran
376. BRONZE STATUETTE OF A BULL
(P438)
368. BRONZE PENDANT (p43o) Luristan. 8th-7th c. B.C.
Representing a double-headed curled-up H 3 in, W
2i in; 7.6 cm, H W 5.5 cm
animal. Small suspension ring. Collection Foroughi, Tehran

EIGHTY-ONE
377. BRONZE BULL (P439) 385. MOURNING WOMAN, BRONZE
Mounted on a Pin. (P447)
Luristan. 8th-7th c. B.C. Luristan. 8th-7th c. B.C.
H 4 in, W H 10.3 cm,
28 in; W 6 cm H IJ in; H
4.8 cm
Collection Foroti^hi, Tehran Collection Foroughi, Teliran

378. TWO BRIDLED AND TEAMED-UP 386. MOURNING WOMAN, BRONZE

BRONZE LIONS (p440'') (P 448)
Ridden by two persons, one of them now Luristan. 8th-7th c. B.C.
missing. H 3 in; H
7.6 cm
Luristan. 8tli-7tli c. B.C. Collection Foroughi, TeJiran
H 2J in, W2J in; 5.5 cm, H W 5.5 cm
Collection Forcntghi, Tehran
387. PRAYING FIGURE, BRONZE (p449)
Cut from a thin sheet.
379. TWO ANIMAL FOREQUARTERS Luristan. 8th-7tli c. B.C.
OF BRONZE (P44i) H 2A in; H 6.5 cm
\\'ith a small suspension ring on the back Collection Foroughi, Tehran
between the two heads.
Luristan. 8th-7th c. B.C.
388. PRAYING FIGURE, BRONZE (p45o)
H 3 in, W 31 in; H
7.4 cm, W 8.5 cm Witli a double-pointed coiffure.
Collection Forcntghi, Tehran
Luristan. 8th-7th c. B.C.
H 2f in; H 7 cm
380. BROxNZE RIDER ON HORSEBACK Collection Foroughi, Tehran
(P442)
Luristan. 8tli-7th c. B.C. 389. PRAYING FIGURE, BRONZE (p45i)
H If in, Wli in; 4.2 cm, H W 3.9 cm With a pointed coiffure.
Collection Foroughi, Tehran
Liuistan. 8th-7th c. B.C.
H 2f in; H
7 cm
381. TWO BRONZE FIGURES
(P443') Collection Foroughi, Tehran
Clasping each odier, are seated sideways
on the joined forequarters of two horses 390. PRAYING FIGURE, BRONZE (p 452)
With a triple-pointed coiffure.
Luristan. 8th-7th c. B.C.
H If in, WIf in; H 4.5 cm, W 4.5 cm
Luristan. 8th-7th
H 3f in; H 8.5 cm
c. B.C.

Collection Forcntghi, Tehran

Collection Foroughi, Tehran
Illustrated

382. TWO BRONZE FIGURES (p444*) 391. EX-VOTO IN FORM OF A PRAYING

Clasping each other, are seated sideways FIGURE, BRONZE (p453)
on an animal. A suspension ring is on the Luristan. 8th-7th c. B.C.
back. H 4 in; H 10 cm
Collection Forcntghi, Tehran
Luristan. 8th-7th c. B.C.
H If in, L If in; H
L 3.54 cm, cm
Collection Forcntghi, Tehran 392. BRONZE STATUETTE OF A
WORSHIPER (P454)
383. BRONZE FIGURE (P445') His hands clasped over the chest in an
With a dagger at his hip, holding two attitude of prayer.
dogs on a leash. Luristan. 8th-7th c. B.C.
Luristan. 8th-7th c. B.C. H 3i in; H
7.9 cm
H 3f in, W If in; H 9.5 cm, W 4.3 cm Collection Foroughi, Tehran
Collection Foroxtghi, Tehran

393. BRONZE STATUETTE OF A

384. MOURNING WOMAN, BRONZE BEARDED FIGURE (P455)
(P446) Holding a goblet and a ring.
Luristan. 8th-7th c. B.C. Luristan. 8th-7th c. B.C.
H If in; H
4.2 cm H 5i in; H
13 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

EIGHTY-TWO
 )

394. BRONZE STATUETTE OF A Luristan. 8th-7th c. B.C.

PRAYING FIGURE (p456) D 2J in; D 7.3 cm
Collection Foroughi, Tehran
Luristan. 8th-7th c. B.C.
H 31 in; 9.2 H cm
Collection Foroughi, Tehran 403. OPEN ARMLET OF BRONZE (p465)
Terminal ornaments in the form of lions,
seen in profile, while their roaring heads
395. BRONZE STATUETTE OF A are shown frontally.
PRAYING FIGURE (p457) Luristan. 8th-7th c. B.C.
With half-raised hands.
D 3 in; D 7.5 cm
Luristan. 8th-7th c. B.C. Collection Foroughi, Tehran
H 4i in; H 10.8 cm
Collection Foroughi, Tehran
404. OPEN ARMLET, BRONZE (p466)
Terminal ornaments in the form of two
396. BRONZE PLAQUE (P458) recumbent lionesses.
Decorated, in repousse, with a running Luristan. 8th-7th c. B.C.

person strugghng with two rearing bulls. D 2i in; D

7 cm
On the rim are holes for the attachment Collection Foroughi, Tehran
of the plaque.
Luristan. 8th-7th c. B.C. 405. OPEN ARMLET, BRONZE (P467)
L 5J in, W 41 in; L 14.5 cm, W 11 cm Terminal ornaments in the form of boars.
Collection Foroughi, Tehran Lvuistan. 8th-7th c. B.C.
D 2i in;7 cm D
Collection Foroughi, Tehran
397. SPIRAL-SHAPED PIECE OF SILVER
JEWELRY (P459)
Luristan. 8th-7th c. B.C.
406. OPEN ARMLET, SILVER (p468)
L 4 in, W 2^ in; L 10 cm, W 6.3 cm Of triangular cross-section; the terminal
decoration consists of gazelles' heads.
Collection Foroughi, Tehran
Liuistan. 8th-7th c. B.C.

398. SPIRAL-SHAPED PIECE OF SILVER D 2i in; D 5.8 cm

Collection Foroughi, Tehran
JEWELRY (P460)
Luristan. 8th-7th B.C.
L li in; L 5.6 cm,
c.
W 2.9 cm 407. OPEN ARMLET, SILVER (p469)
2i in,
Terminal ornaments in the form of reclin-
Collection Foroughi, Tehran
ing ducks.
Luristan. 8th-7th c. B.C.
399. OPEN SEAL RING, BRONZE (P46i) D 2i in; D 6.5 cm
Concave representation of a double- Collection Foroughi, Tehran
headed eagle.
Luristan. 8th-7th c. B.C. 408. BRONZE BELT BUCKLE (p47i)
D 1 in, W li; D 2.5 cm, W 3.5 cm In the shape of an ornament with a hole
Collection Foroughi, Tehran
in the center surmounted by lions.
Luristan. 8th-7th c. B.C.
400. TORQUE OF SOLID BRONZE (p462) D 4 in; L 10 cm
With twist design. Collection Foroughi, Tehran
Luristan. 8th-7th c. B.C.
D 5i in; D
14 cm 409. BRONZE BELT BUCKLE (p472*)
Collection Foroughi, Tehran In the shape of an ibex.
Luristan. 8th-7th c. B.C.
401. JOINTED ARMLET OF SOLID H 2^ in; H 6.5 cm
BRONZE (P463) Collection Foroughi, Tehran
Illustrated
Decorated with human heads.
Liuristan. 8th-7th c. B.C.
D 3f in, W 1^ in; D 9.5 cm, W 3.7 cm 410. BRONZE BELT BUCKLE (p 473*
Collection Foroughi, Tehran In the form of a Bactrian camel within
a rectangular frame.
Luristan. 8th-7th c. B.C.
402. OPEN ARMLET OF BRONZE (P464) H 14 in, L 3i in; H
4.7 cm, L 8.7 cm
Terminal ornaments in the form of lions' Collection Foroughi, Tehran
heads seen from above. Illustrated

EIGHTY-THREE
411. BRONZE MIRROR (p474) Indeterminate Group
In the form of a slightly convex disk. The
rectangular shaft is sunnounted on both 418. BRONZE AX
sidesby two long-necked heads of bovine Bearing a lion, a man seated on a throne,
animals, which act also as supports for and a bird with wings outstretched.
the mirror (so-called "Eurasian type"). Sakiz, Kurdistan. Late 2nd— early 1st mil. B.C.
Luristan. 8th-7th c. B.C. L 9 in; L 23 cm
D 5J in; D
14.8 cm Archeological Museum, Tehran. 15009
Collection Foroughi, Tehran bibuocraphy:
L. Vanden Berghe, ArchSologie de Tlran ancien,
Leiden, 1959, pi. 144a.
412. BRONZE MIRROR (p475) Illustrated
In the fonn of a disk. In the center is a
boss to which a supporting ring of bronze 419. GOLD AND CARNELIAN
wire has been fastened. NECKLACE
Luristan. 8th-7th c. B.C. Composed of ninety-four elements: sixty
D 4i in; D
11 cm
camelian beads and thirty-four highly
Collection Foroughi, Tehran
stylized eagles with outstretched wings in
gold.
Dailaman, Emarlou. 1200 B.C.
413. BRONZE MIRROR WITH A SHAFT Wt 2i oz; Wt 65 g
( P 476 ) Archeological Museum, Tehran. 11367
In the form of a female statuette in the
round.
Luristan. 8tli-7th B.C. c.
420. BRONZE ADZ
H Long blade surmounted by a goat with a
7i in, D 5J in; H 18.5 cm, D 13 cm
Collection Foroughi, Tehran
ring beneath the beard and another
smaller ring behind him. A thin homed
ox head on the blade.
414. BRONZE SUPPORT (p477) Gilan. 12th c. B.C.

In the form of a truncated cone decorat- L lOi in, Wt m oz; L 26 cm, Wt 495 g
Archeological Museum, Tehran. 11259
ed with the bust of a divinity.
Illustrated
Luristan. 8th-7th c. B.C.
H 3i in; H 9.5 cm
Collection Foroughi, Tehran 421. BRONZE AX
Four lions, holding joined blades, emerge
from the mouth of a large-earred lion-
415. BRONZE HELMET (p482) head socket. Behind, three loops extend
Stylized decoration consisting of spirals,
from relief bands around haft.
in repousse.
Gilan. 11th c. B.C.
Luristan. 8th-7th B.C. L 3i in, Wt 141 oz; L 9 cm, Wt 420 g
c.

H 111 in, D 8i in; H 30 cm, D 21 cm Archeological Museum, Tehran. 11209

Collection Foroughi, Tehran Illustrated

416. BRONZE PECTORAL (p483)

422. BRONZE BELL
Decorated with concentric circles around Four ducks face each other on top. Eight
a frontally placed human head. ribs enclose a small round stone.

Luristan. 8th-7th B.C. Pir-Kouh, Gilan. 12th c. B.C.

c.
W9 in; W 23 cm H 3i in, Wt 2i oz; H
9 cm, Wt 70 g
Collection Foroughi, Tehran
Archeological Museum, Tehran. 11335
Illustrated

417. BRONZE FOOT FROM A PIECE OF 423. GOLD AND CARNELIAN

FURNITURE (P484) NECKLACE
Inscription in nine characters with the Composed of forty elements: six came-
name of a royal oflBcial. lian and thirty-four gold beads.
Luristan. End of 2nd— beginning of 1st mil. B.C. Gilan. 1000 B.C.
H 31 in; H 8.5 cm L 181 in; L 47 cm
Collection Foroughi, Tehran Archeological Museum, Tehran. 11374
Illustrated Illustrated

EIGHTY-FOUR
Objects from Luristan bxjt Showing 428. GOLD PLAQUE (psii)
Neo-Elamite and Western Styles Now composed twenty-three frag-
of
ments decorated with recHning mountain
goats and stags, in repousse, in frames.
424. BRONZE CUP OR SITULA IN FORM Ziwiye. 7th c. B.C.
OF RAM'S HEAD H 6i in, L Hi in, Wt 15i oz; 16 cm, H
Wire handle. Collar of engraved lotus L 29.8 cm, Wt 447 g
buds and blossoms at ram's throat and Archeological Museum, Tehran. 12516
below rolled rim. Cup to hold Hquid bibliography:
joined at the rim with repousse of out- A Godard, Le TrSsor de Ziwiyd, Haarlem, 1950,
p. 57, fig. 48.
side.
Illustrated
Luristan. Neo-Elamite, Late 8-7th c. B.C.
H 81 in, D 5i in, Wt 25| oz; H 2L8 cm,
D 13 cm, Wt 728 g 429. LARGE SILVER PLATE, FRAGMENT
Archeological Museum, Tehran. 15202 (P519)
Illustrated Ornamented with gold appHques in con-
centric circles, enumerated from the out-
425. BRONZE BOWL (p333) side in: small bosses; single flower petals;
Chased. A seated personage, who smells heads of birds of prey turned to the right;
a lotus and holds a situla, has four at- pairs of confronted lynx-like animals,
tendants standing before him and five crouching; small flower petals on outside
musicians behind. Bottom: a rosette with of concentric rings, one row above the
a small omphalos center. Style of a proto- other; rosette in center.
Cypriote bowl from Dah in Cyprus. Ziwiye. 7th c. B.C.
Luristan. Ca.800-700 B.C. H 2i in, D 141 in, Wt 73i oz; H
6.5 cm,
H 2 in, D
61 in; H 5 cm, D 16.7 cm D 37.5 cm, Wt 2092 g
Archeological Museum, Tehran.. 15198 Archeological Museum, Tehran. 12498
bibliography: bibliography :

E. Gyerstad, Decorated Metal Bowls from H. Frankfort, The Art and Architecture of the
Cyprus, Skrifter Utgiona av Svenska Instituted Ancient Orient, London, 1954, fig. 101. R.
i Rom XII, 1946. Ghirshman, "Notes iraniennes III," Artihus
Asiae, XIII, 1950, pp. 186-7, figs. 9, 10.

426. BRONZE BOWL

Chased. Five bulls walking around a 430. THREE SMALL GOLD IBEX
central flower. Possibly Cypro-Phoeni- APPLIQUES (P550)
cian style (Ca.600-550 B.C.). Rechning, with feet tucked under bodies.
Luristan. 9th c. B.C.? Scythian influence. Each has four loops
H 2 in, D 6i in; H 5 cm, D
15.7 cm on the back.
Archeological Museum, Tehran. 15192
Ziwiye. 8th c. B.C.
H of each J in, L of each i in; H of each
1.8 cm, L of each 1.8 cm
Archeological Museum, Tehran. 12502, 12503,
6707
Treasure of Ziwiye, Late 8th-7th c, bibliography:
B.C. L. Vanden Berghe, Archiologie de I'Iran ancien,
Leiden, 1959, pi. 141a.
Illustrated
427. GOLD PECTORAL (p494)
Repousse and engraved with two regis-
ters of converging figures. 431. GOLD ROUNDEL (p509)
Ziwiye. 7th c. B.C.
Hero holds two Hons by their hind paws.
H 51 W in, 13 in, Wt 9J oz; H 13.5 cm, Border decorated with wire and granulee
W 33 cm, Wt 275 g triangles.
Archeological Museum, Tehran, 11599 Kaplantu (nr. Ziwiye)? 8th c. B.C.
bibliography: D 2i in, Wt If oz; D 7 cm, Wt 50 g
A. Godard, Le Tr6sor de Ziwiyd, Haarlem, 1950, Archeological Museum, Tehran. 11358
pp. 20-34, fig. 10, 13, 15-18, 20-24. E. Porada,
Ancient Iran, New York, 1964, (in press). L.
Vanden Berghe, ArchSologie de I'Iran ancien, 432. GOLD SWORD CHAPE (p554)
Leiden, 1959, pis. 139, 140. Rehef decoration of two highly stylized
Illustrated confronted beasts. "Scythian" style.

EIGHTY-FIVE
 :

Ziwiye. Stli c. B.C. Ziwiye. 8th c. B.C.

H IJ in, WU in, Wt 2Joz; H 3.3 cm, H II in, D 1} in; H 4 cm, D 4.5 cm
W 3.3 cm. Wt 77 g Archeological Museum, Tehran. 11395
Archeologic<d Museum, Tehran. 12515 Illustrated
HIBLIOCnAPHY:
R. Ghirshman, Iran, Harmondsworth, 1954, pi. 438. GOLD HAND NET (psos")
10c. Index and third-finger rings ornamented
with circle of knobs between wire bor-
433. GOLD BRACELET (P502) ders. Net of fine gold chain.

Lion-head teniiinals, one of which is Ziwiye. 8th c. B.C.

movable and attached by a gold nail. Wt 7 oz; Wt 139 g

Archeological Museum, Tehran. 6710
Body enlarges toward center, which
bears two pairs of young lions lying
breast to breast with heads turned out-
439. POTTERY DUCK (P609)
ward.
Red ware painted white, yellow, and
black, with traces of green. Spout in mid-
Ziwiye. 7th c. B.C.
dle of back with everted lip. On the
D 3§ in, W
2A in, Wt lOi oz; 9.2 cm, D
W 6.5 cm, Wt 288 g bottom, webbed feet and thin legs are
shown in relief.
Archeological Museum, Tehran. 12500
bibliography: Ziwiye. Late 8th-7th c. B.C.
A. Godard, Le Tresor de Ziwiije, Haarlem, 1950, H 9^ in, L 15 in; H
24 cm, L 38 cm
pp. 50, 51, fig. 40, 41. E. Porada, Ancient Iran, Archeological Museum, Tehran. 6884
New York, 1964, (in press). bibliogryS^phy :

Color plate A. Godard, Le TrSsor de Ziwiye Haarlem,

1950, p. 61, fig. 50. L. Vanden Berghe, Archeo-
logie de I'lran ancien, Leiden, 1959, pi. 143 c.
434. HEAVY GOLD BRACELET (p503)
Mouflon head terminals. Body deeply 440. POTTERY RAM-HEAD RHYTON
ridged. (P610)
Ziwiye. 7th c. B.C. Hanging hook upper right edge.
at
D Si in, Wt 6 oz; D
9 cm, Wt 172 g
Ziwiye. Late 8th-7th c. B.C.
Archeological Museum, Tehran. 7818
L 9i in, D 6i in; L 25 cm, D 17.5 cm
Archeological Museum, Tehran. 6859
435. GOLD PROTOMA OF A GRIFFIN bibliography:
(P520) A. Godard, Le Tresor de Ziwiye, Haarlem, 1950,
p. 68, eg. 57. L. Vanden Berge, Archeologie de
Hollow finial or furniture terminal.
I'Iran ancien, Leiden, 1959, pi. 143e.
Ziwiye. 7th c. B.C.
Exhibited: Rome, 1956, XXV.
H 25 in, W
If in, Wt 3 oz; H 7 cm, W 4.5 cm, Color plate
no. 207, pi.

W 83 g
Archeological Museum, Tehran. 11604
BIBLIOGRAPHY 441. POTTERY JAR (p607)
A. Godard, Le Tresor de Ziwiye, Haarlem, 1960, Painted in green, blue, and maroon-
p. 40, fig. 30. E. Porada, Ancient Iran, New brown with two pairs of goats on either
York, 1964, (in press). side of two rosettes. Blue-green glaze
Illustrated inside lip and a little on the outside.
Ziwiye. Late 8th-7th c. B.C.
436. GOLD PROTOMA OF A LION H 141 in, D 41 in; H 37 cm, D 11 cm
Archeological Museum, Tehran. 6885
(P522*)
bibliography:
Counterpart of no. 435. A. Godard, Le Tresor de Ziwiyi, Haarlem, 1950,
Ziwiye. 7th c. B.C. pp. 66, 67, figs. 55, 56.
H 2i in, W 2i in, Wt 2 oz; H 6 cm, W 7 cm, Exhibited: Rome, 1956, no. 205, pi. 25.
Wt 57 g Color plate
Archeological Museum, Tehran. 6706
bibliography:
R. Ghirshman, "Notes iranieimes III," Artihus
Pre-Achaemenid Objects
Asiae, XIII, 1950, p. 193, fig. 15.
Illustrated
442. PAINTED POTTERY HORSE (P36)
Burnished ware decorated in brown and
437. SMALL GOLD FUNNEL orange with harness, martingale, and
Curved handle; pattern at waist. straps. The fringed blanket shows, on a

EIGHTY-SIX
 : :

flower-strewn field, a lion or tiger with design on hip and small wings on shoul-
an ibex behind it and a row of birds on ders.
either side, below. The reins have a Achaemenid.
fleur-de-lys design on either side of the H If in, L 3i in; 4.2 cm, L 8 cmH
neck. Archeological Museum, Tehran. 7949
Illustrated
Maku, Azerbaijan. Median. 7th-6th c. B.C.
H 8 in, L 12i in; H
20.5 cm, L 31 cm
448. GOLD BOWL
Archeological Museum, Tehran. 6700 (P666*)
BIBLIOGRAPHY Cuneiform inscription above shoulder
L. Vanden Berghe, Archeologie de I'Iran ancien, bears the name of Xerxes in Old Persian,
Leiden, 1959, pi. 150b. Babylonian, and Elamite.
Exhibited: Paris, 1948, no. 1. Hamadan, Achaemenid. 5th c. B.C.
Color plate H 4i in, D 8 in, Wt 49f oz; H 13 cm,
D 20.5 cm, Wt 1407 g
ACHAEMENID OBJECTS Archeological Museum, Tehran. 11A%
BIBLIOGRAPHY
443. HEAD OF A KING (ptis) L. Vanden Berghe, Archeologie de I'Iran ancien,
Wearing a battlemented crown. Egyp- Leiden, 1959, pi. 136c.
tian Blue. Color plate
Persepolis.Achaemenid. Sth c. B.C.
H 2f in; H 6 cm 449. SMALL GOLD BOWL
Archeological Museum, Tehran. 1294. Decorated with fluting and an omphalos-
BIBLIOGRAPHY centered rosette on the bottom.
E. Porada, Ancient Iran, New York, 1964, (in Hamadan. Achaemenid. 5th c. B.C.
press). L. Vanden Berghe, Archeologie de V HU in, D 5f in, Wt 6J oz; H 3 cm, D 13.5 cm,
Iran ancien, Leiden, 1959, pi. 43a. Wt 174 g
Exhibited: Paris, 1948, no. 43; Rome, 1956, ill
Archeological Museum, Tehran. 7985
facing p. 32.
Color plate 450. SILVER OPENWORK DISH
Five lotus flowers in center and a bud
444. BRONZE MOUNTAIN GOAT on each of the twelve ledges, between
Head turned to right. Large flaring
holes remaining in place of pointed oval
horns, full eyes, nostrils, mouth, and repousse bosses. Floral elements show
beard. Tail curls up on body.
unusual stylization. Touched with gilt.
Achaemenid or earlier. Back shows repousse.
H 4 in, L 4 in; H 10 cm, L 10 cm Ardebil. Achaemenid.
Archeological Museum, Tehran. 2172
Illustrated
H IJ in, D
7i in; 3 cm, 20 cm H D
Archeological Museum, Tehran. 2069
BIBLIOGRAPHY:
445. SILVER IBEX STATUETTE M. Bahrami, "Some Objects Recently Discov-
Triangles on shoulders may have con-
ered in Iran," Bulletin of the Iranian Institute,
tained inlays, and so may tne eyes. December 1946, p. 74, fig. 4.
Hamadan. Achaemenid or pre-Achaemenid Illustrated
H 4i in, L 3 in; H 11.5 cm, L 7.5 cm
Archeological Museum, Tehran. 7754 451. GOLD CUP OR SITULA WITH
Color plate GAZELLE HEAD (pees*)
Rim of vessel ornamented with rows of
446. SILVER VASE (P684*) very fine wire.
Horizontally ribbed body. Mountain Hamadan. Achaemenid.
goats with reversed heads form the two H 6^ in, D 31 in, Wt llf oz; H 16.5 cm,
handles. D 9 cm, Wt 330 g
Hamadan. Achaemenid or pre-Achaemenid. Archeological Museum, Tehran. 7815
6th-5th c. B.C. Illustrated
H 8i in, D 41 in, Wt 481 oz; 21 cm, H
D 12 cm, Wt 1360 g 452. GOLD WHETSTONE HANDLE
Archeological Museum, Tehran. 7813 (p e9i)
Illustrated In the form of a gazelle head.
Hamadan. Achaemenid.
447. SILVER HANDLE H 3 in, W
5 in, Wt 2J oz H 7.5 cm, ; W 2.3 cm,
In the shape of a young bull. Under the Wt 61 g
folded forelegs is a flat plate with two Archeological Museum, Tehran. 7749
holes for attachment to vessel. Engraved Illustrated

EIGHTY-SEVEN
 ) :

453. GOLD BRACELET (p70i) Persepohs. Achaemenid.

Tenninals shaped like reclining ducks L 6i in, W
5* in; L 16 cm, 14 cm W
Archeological Museum, Tehran. 7613
witli reversed heads. Body of bracelet is
BIBLIOCHAPHY
heavy gold wire. L. Vanden Berghe, Archiologie de I'Iran ancien,
Achaeinenid. Leiden, 1959, pi. 43c.
D 34 in, D of wire J in, Wt J oz; 8 cm, D Exhibited: Rome, 1956, no. 310, pi. 28.
D of wire .3 cm, Wt 25 g
Archeological Museum, Tehran. 1538
459. SQUARE PLAQUE OF EGYPTIAN
BLUE
454. SMALL GOLD MOUNTAIN-GOAT Decorated with incised falcon with out-
HEAD (P7o)
stretched wings, with a disk on its head
Hollow with loop in back for attaching to
and in each claw. Bordered by triangu-
necklace.
lar inlays that still show traces of red and
Gilan. Achaemenid. white paste. Egyptian design.
H 1 in, 2§ W in, Wt « oz; H 2.4 cm, W 6 cm, Persepohs. 5th c. B.C.
Wt 19 g
H and W5 12.6 cm,
in; H
12.6 cm W
Archeological Museum, Tehran. 11359
Archeological Museum, Tehran. 2436
Illustrated
Exhibited: Rome, 1956, no. 213, pi. 28.
Color plate
455. TWO GOLD LION-HEAD
APPLIQUES (P7iij
Openwork manes. Tiny loops on back
460. SMALL BRONZE MOUNTAIN GOAT
Forelegs bent for reclining. Resembling
for attaching.
but not identical with Ordos bronzes.
Hamadan. Achaemenid.
Kurdistan. Ca. 4th c. B.C.
H H in, L 2i in (both same); H 4.6 cm,
L 5.6 cm (each) H 2i in, L 2i in; H 6.2 cm, L 5.8 cm
Archeological Museum, Tehran. 7974.1, 7974.2 Archeological Museum, Tehran. 7756
Illustrated
461. SMALL BRONZE LION
456. TWO GOLD APPLIQUES
(P7i2) In a crouching position v^dth a bristling
In the form of two rearing Hons seen in niflF.

profile with a single high-relief head Achaemenid.

seen full face. Openwork, within a cir- H li in, L 2| in; H 2.9 cm, L 7 cm
cle.. Archeological Museum, Tehran. 7930
Illustrated
Achaemenid.
D 2i in, Wt i oz (each); D 5.5 cm, Wt 25 g
(each 462. GOLD BULL
Archeological Museum, Tehran, 7953, 7954 Head turned. Rope halter shown.
Hamadan. Achaemenid?
457. NECKLACE WITH GOLD H 15 in, L 2i in; H 4.6 cm, L 5.6 cm
MEDALLIONS (p709) Archeological Museum, Tehran. 1272
Composed of 169 elements: ten medal- Illustrated
lionswith crossed lions in asymetrical,
hexagonal frames, sixty-one gold beads, 463. TWO RUNNING BRONZE HORSES
and ninety-eight ivory beads. In high relief; heads, hooves, and tails in-
Achaemenid, 5th c. B.C. the -round.
L 171 in, Medalhon, H f in. Medallion, Persepohs. Greek style, Achaemenid period.
W f in, Wt 1 oz; L 44 cm, medallion, H 2 cm, H 6 in, L 101 in; H 15 cm, L 27 cm
medallion W
2 cm, Wt 30 g Archeological Museum, Tehran. 2207
Archeological Museum, Tehran. 13105 bibliography:
bibliography: E. F. Schmidt, Persepolis II, Chicago, 1957,
L. Vanden Berghe, ArchSologie de I'Iran ancien, pis. 38, 39.
Leiden, 1959, pi. 136b. Exhibited: Rome, 1956, no. 211, pi. 29.
Illustrated Color plate

458. LION PROTOMA OF EGYPTIAN 464. RECLINING BRONZE BOAR

BLUE Perforated projection in back for bridle
Fire-blackened. Inlay holes for triangu- straps, open mold casting.
lar toenails, two upper and two lower Gilan. Achaemenid. 6th-5th c. B.C.
fangs, and three upper and three lower H 1 in, L IJ in; H 2.7 cm, L 4.7 cm
jaw sections. Archeological Museum, Tehran. 7935

EIGHTY-EIGHT
 :: . :

Objects from the Foroughi Collec- 470. FOUR MOTHER-OF-PEARL FIGURE

tion, ACHAEMENID StYLE
INLAYS
Archer
A youth, shown to the hips, in profile
465. SILVER PLATTER (p68i)
with right hand and upper left arm. He
The center consists of a twelve-petalled wears a fillet round his head and a belted
rosette, while the rest of the decoration tunic with a deep V-neck.
is composed of lanceolated leaves alter-
Shami. Parthian. lst-3rd c.
nating with a row of olive-shaped forms H If in; H 4.5 cm
and small drop-like units, arranged in a ArcheologicalMuseum, Tehran. 2917
circle. The whole work is in repousse. BIBLIOGRAPHY
Achaemenid. 559-331 B.C. R. Ghirshman, Persian Art, the Parthian and
H If in, D 13 in, Wt 42f oz; Sasanian Dynasties, New York, 1962, p. 109,
H 3.4 cm, D 33 cm,
1200 g Wt fig. 125a left.

Collection Foroughi, Tehran Exhibited: Paris, 1948, no. 75

466. SILVER BOWL ON A FOOT (pess) Queen

Decoration in repousse. She wears a low crown, elaborately ar-
Achaemenid. 559-331 B.C. ranged hair, earrings, and a bordered
H 2i W 75 Wt 20i
in, in, oz; robe with stripes or folds on the sleeves.
H 6.4 cm, W 20 cm, Wt 570 g Shami. Parthian. lst-3rd c.
Collection Foroughi, Tehran H 21 in; H 6.7 cm
Archeological Museum, Tehran. 2918
467. YELLOW GLASS GOBLET (p723) bibliography:
R. Ghirshman, Persian Art, the Parthian and
Molded decor of lanceolated leaves.
Sasanian Dynasties, New York, 1962, p. 108,
Dailaman. Achaemenid ( ? )

H 3f in, W 4i in; H 9.5 cm, W 10.7 cm fig. 124.

Exhibited: Paris, 1948, no. 75.
Collection Foroughi, Tehran
Two Bearded Horsemen
Holding chariot reins. Much costume de-
tail: neck folds, robe borders.

Seleucid to Parthlvn Shami. Parthian. lst-3rd c.

H 2 in; H 5 cm
Archeological Museum, Tehran. 2912
468. WHITE MARBLE HEAD (p736) bibliography:
Of a bearded and mustached man with R. Ghirshman, Persian Art, the Parthian and
a fillet around his hair, tied in back. Sasanian Dynasties, New York, 1962, 125b.
Shami. Parthian. lst-3rd c. L. Vanden Berghe, Archiologie de I'Iran ancien,
H 41 in; H. 11 cm Leiden, 1959, pi. 94d.
Archeological Museum, Tehran. 2087 Exhibited: Paris, 1948, no. 75, p. 43.
BIBHOGRAPHY
R. Ghirshman, Persian Art, the Parthian and Archer's Head
Sasanian Dynasties, New York, 1962, fig. 107a. Fillet around head, right hand at collar.
L. Vanden Berghe, ArchSologie de I'Iran ancien, Shami. Parthian. lst-3rd c.
Leiden, 1959, pi. 94a, 94b. H li in; 3 cm H
Illustrated Archeological Museum, Tehran. 2920
Exhibited: Paris, 1948, no. 75.
469. BRONZE STATUETTE (p727) Illustrated
Of a man, without head, dressed in a
flowing tunic, wrapped trousers and soft 471. BRONZE GENIE
boots with pointed toes. On his long Bull's ears,man's face, with beard, and
fingers, he wears a ring. Bracelet and shoulders ending in short wings.
belt are shown. The fabric is sheer over Kurdistan. Parthian. lst-3rd c.
the chest. H 4 in, W 1 in; H
10 cm, 2.5 W cm
Shami. Parthian. lst-3rd c. Archeological Museum, Tehran. 7937
H lOf in; H 27 cm Illustrated
Archeological Museum, Tehran. 18088
BIBLIOGRAPHY
L. Vanden Berghe, ArchSologie de I'Iran ancien, 472. BRONZE HANDLE
Leiden, 1959, pi. 92b. Two parts: a lion protoma, into which
Illustrated fits a rod.

EIGHTY-NINE
 :

Kermanshah. Parthian. lst-3rd c. Dailaman. Parthian. lst-3rd c.

L 6 ill, H of lion 2ii in; L 15 cm, H of lion H 2 in, D 8 in, Wt 12 oz; H 5.1 cm, D 20.2 cm,
5.4 cm Wt 340 g
Arclwolo^ical Museum, Tehran. 7995 Collection Foroughi, Tehran
lUustrated
477. SILVER BOWL ON A SMALL FOOT
473. SM.'VLL GOLD ORNAMENT (P734')
Relief showing a youth with small wings Raised center decorated with wide flut-
astride a long-eared monster. ing and polylobed edge. Inscription in
Nihavend. Parthian. lst-3rd c. B.C. Parthian Pahlavi.
H 18 in, L 14 in, Wt J oz; H 4.2 cm, L 2.8 cm, Dailaman. Parthian. lst-3rd c.
Wt 21 g H 3 in, D 8J in, Wt 27i oz;
Archcological Museum, Tehran. 7928 H 7.8 cm, D 21.5 cm, Wt 780 g
nniLiocHAPHY: Collection Foroughi, Tehran
R. Ghirshman, Persian Art, the Parthian and
Sasanian Dijnasties, New York, 1962, p. 101,
fig. 114.
478. GLASS BOWL (P75i)
lUustrated
With embossed decoration in blue.
Amlash. Parthian. lst-3rd c.

474. RED POTTERY RHYTON (P758) H 4 in, D 4 J in; H 10 cm, D 11.2 cm

In the form of a mountain goat with Collection Foroughi, Tehran

honi5, ears, eyes, and beard shown.

Knees folded under body with hooves 479. GLASS BOWL (p752)
delineated in back; spout between knees Decoration of gold leaf fused between
and hooves. Relief sections on body be- two covering layers of glass. An eight-
hind legs suggest wings. High horn Eointed star in the center is surrounded
with everted lip. y three circular bands of unequal width
Demavand. Parthian. lst-3rd c.
and difi^erent ornamentations. The cen-
H D of lip 4i in; 37 cm, H tral band is formed by a rinceau with
14f in,
D of hp 11.5 cm lanceolated leaves.
Archeological Museum, Tehran. 5680 Amlash. Parthian. lst-3rd c.
bibliography: H 3 in, D 8^ in; H 7.6 cm, D 21.4 cm
R. Ghirshman, Persian Art, the Parthian and Collection Foroughi, Tehran
Sasanian Dtjnasties, New York, 1962, fig. 132b.
L. Vanden Berghe, Archiologie de I'Iran ancien, 480. GLASS BOTTLE (P755)
Leiden, 1959, pi. 3d.
Of angular shape, showing iridescence.
Exhibited: Rome, 1956, no. 231, pi. 31,
Northwest. Parthian. lst-3rd c.
Color plate
H 6i in, W
2i in; H 16 cm, W 6.3 cm
Collection Foroughi, Tehran
475. GLAZED POTTERY BOWL
Green with much gold iridescence, inside
and out. Three small feet shaped like 481. SMALL BOTTLE OF OPAQUE
scallop shells. Band of small knobs on
GREENISH GLASS (P756)
shoulder. Amlash. Parthian. lst-3rd c.

Susa. Parthian. lst-3rd

H 8f in, D
of the opening 2 in; H 22 cm, D of
c.
the opening 5 cm
L 6i in, 5J in W Collection Foroughi, Tehran
Archeological Museum, Tehran. 7646
BIBLIOGRAPHY
R. Ghirshman, Persian Art, the Parthian and
482. SMALL OINTMENT BOTTLE OF
Sasanian Dynasties, New York, 1962, fig. 133 PALE GREEN GLASS (pts?)
right. Shaped with a high neck, and now show-
Illustrated ing iridescence.
Northwest. Parthian.
H 61 in, W2
in; 17.3 cm, H W 5 cm
Objects from the Foroughi Collec- Collection Foroughi, Tehran

tion OF Parthian Style

483. GILDED SILVER PLATER (P772)
476. SILVER BOWL ON A SMALL FOOT With King Narseh hunting wdld moun-
(P733*) tain goats.
A medallion in the center with a lion Sasanian. 4th c.
walking to the right. Gadrooned decora- H If in, W 71 in, Wt 25 oz; H 4.2 cm,
tion on the outside. W 20 cm, Wt 710 g

NINETY
 ::

Collection Foroughi, Tehran 487a. RECLINING BRONZE MOUNTAIN

BIBLIOGRAPHY GOAT
R. Ghirshman, Artibus Asiae, XXII, 1959,
Cast, with engraved details. Head
pp. 48-52. turned left. Hollow body; rib openings.
Luristan. 12th c. B.C.
L 5i in; L 13.5 cm
Sasanian Archeological Museum, Tehran. 2755

484. SILVER PLATE (ptts)

Repousse and engraved, showing the 488. SILVER FORK WITH TWO TINES
king, mounted backwards, and one rear- (P828)
ing and one dying Hon. Terminates in a mouflon head. Handle in
Sari, Mazanderan. 3d c. bead-and-reel design.
H 2i in, D
Hi in, Wt 45| oz; 6 cm, H Mazanderan. Sasanian. 6th-7th c.
D 28.5 cm, Wt 1285 g L 9J in, Wt 2 oz; L 24 cm, Wt 56 g
Archeological Museum, Tehran. 7700 Archeological Museum, Tehran. 7760
BIBLIOGRAPHY bibliography :

R. Ghirshman, Persian Art, The Parthian and Ars Orientalis, II, 1957.
Sasanian Dynasties, New York, 1962, figs. 248- Illustrated
251.
Exhibited: Rome, 1956, no. 250, pi. 35.
Illustrated 489. SILVER TOOL
Pomegranate at one end and griflBn head
485. SILVER VASE (ptss) with large hooked beak at other. Handle
On a gilded background are four dancing in form of stem, which springs successive-
girls in floral arches with flowers, small ly from four nodes.
animals, and birds, and above the join- Mazanderan. Sasanian. 3rd-7th c.
ing arches, two boy musicians and two L 61 oz, Wt 2i oz; L 17 cm, Wt 60 g
boy dancers. At the base are two masks Archeological Museum, Tehran 7760
with small spouts; on the bottom a
simurgh. The neck is ribbed horizon- 490. BRONZE FINIAL
tally to the everted lip. In the shape of a lively sea monster.
Kalardasht. Sasanian. 6th c. Graeco-Roman influence. Ends in seven-
H Hi in, D
mouth 2| in, Wt 33| oz;
at thread screw.
H. 29 cm, D at mouth 6 cm, Wt 945 g
Kermanshah. Sasanian. 6th c.
Archeological Museum, Tehran. 2500
bibliography:
H 4f in, L 3i in; H
11 cm, L 9 cm
Archeological Museum, Tehran, 7766
R. Ghirshman, Persian Art, the Parthian and
Sasanian Dynasties, New York, 1962, fig. 256.
L. Vanden Berghe, Archeologie de I'lran ancien, 491. GILDED SILVER BOWL (ptqs)
Leiden, 1959, pi. 6c, 6d. Of an oblong oval shape. In the center
Exhibited: Rome, 1956, no. 254, pi. 38.
is a medallion with a long-legged wading
Color plate
bird holding a fish in its beak. The field
is decorated with small round bosses.
486. DARK BRONZE-SILVER ALLOY Dailaman. Sasanian. 6th-7th c.
VASE W
H If in, L 7i in, 5i in, Wt 12 oz; H 4.3 cm,
Long fluted neck with everted lip. Glo- L 18.5 cm, W13 cm, Wt 340 g
bular body. Collection Foroughi, Tehran
Gilan. Sasanian. 3rd-7th c.
H 6 in, D 3 in, Wt 18| oz; H 15.3 cm,
D 7.5 cm, Wt 522 g 492. GILDED SILVER BOWL (p799)
Archeological Museum, Tehran. 7940 Of an oblong oval shape. The decoration,
in repousse, consists of four trees dis-
487. DARK SILVER-BRONZE ALLOY tributed over the surface and each
BOWL flanked by two birds; at the base of two
Everted ring foot. Probably used for of the trees are four different animals. In
divining. each quarter of the field are representa-
Gilan. Sasanian. 3rd-7th c.
tions of two female dancers and two
H 2 in, D 6f in, Wt Hi oz; H 5 cm, D 17 cm, nude women musicians. The inscription,
Wt 325 g in Sasanian Pahlavi, gives the name of
Archeological Museum, Tehran. 7938 the owner and the weight of the object.

NINETY-ONE
 Dailaman. Sasnninn. 6th-7th c. 499. SILVER BOWL (psis)
H 2i in. L 7i in. W
4J in, 121 oz; H 5.5 cm, With a repousse and engraved decora-
L 18.2 cm. W
12.2 cm, W't 360 g tion of four medallions containing two
Collection Foroughi, Tehran
pairs of confronted eagles. In the center
are four motifs with half-palmettes.
493. GILDED SILVER BOWL (psoo) Dailaman. Sasanian. 6th-7th c.
Of oblong oval shape and set on a small H 21 in, D 71 in, Wt 15i oz; H 6 cm,
foot. The relief decoration on the out- D 19.5 cm, 440 g Wt
side is composed of five medallions with Collection Foroughi, Tehran
human figures and animals. On the in-
side is found the engraved and gilded 500. SILVER PLATE (p82o)
figure of Pan with his flute. With champleve decoration showing a
Dailaman. Sasanian. 6th-7th c.
stylized stag's head between two wings.
H 2J in. L 71 in, Wt 12 oz; H 7 cm, L 19.5 cm, Palmette border. On the rim is a frieze
W't 340 g of grape leaves.
Collection Foroughi, Tehran Kermanshah. Sasanian. 6th-7th c.
H H in, W
81 in; H 3 cm, 21.2 W cm
494. GILDED SILVER BOWL (P80l) Collection Foroughi, Tehran
Illustrated
Of an oblong oval shape. A long-legged
)n2-k
wading bird in the center and four ro- 501. SILVER PLATE (p82i)
settes on the rim. Seme with S motifs
On a small fluted foot. is a In the center
and small rosettes.
trident inlaid with incrustations. A long
Dailaman. Sasanian. 6th-7th c.
inscription is in Sasanian Pahlavi.
H 2f in, L 8i in, Wt lOf oz; H 6 cm, L 21 cm,
Dailaman. Sasanian. 6th-7th c.
Wt 300 g
Collection Foroughi, Tehran
H If in, D 9i in, Wt 23 oz; H 4 cm,
D 23.5 cm, Wt 650 g
Collection Foroughi, Tehran
495. SILVER BOWL (psos)
Decorated with the engraved design of 502. SILVER PERFUME BURNER (p 826)
a lion in the center. Two crescents and In shape of a small shovel with a long
two hearts are on the rim. shaft ending in a gazelle's head.
Sasanian. 7th c. Dailaman. Sasanian.
H 2f in, L 9i in, Wt 7i oz; H 6 cm, L 23.5 cm, L 12f in, Wt 28i oz; L 32 cm,
Wt 210 g Wt 800 g
Collection Foroughi, Tehran Collection Foroughi, Tehran
Illustrated
496. SILVER BOWL (p809)
Its ornamentation, in repousse, consists 503. T\VO-PRONGED SILVER FORK
of palmettes in the center and sLx circles (P829)
enclosing birds, palmettes, and plant mo- The handle terminating in a horse head.
tifs. Sasanian. 6th-7th c.
Dailaman. Sasanian. 7th c. L 9i in; L
24.7 cm
H If in, D 5i in, Wt 7| oz; H 4 cm, D 14 cm, Collection Foroughi, Tehran
Wt 220 g
Collection Foroughi, Tehran 504. TWO-PRONGED SILVER FORK
(P830)
497. FOOTED SILVER BOWL (p 812) Handle terminating in a horse's head.
Fluted decoration. Flat rim. Sasanian. 6th-7th c.

Sasanian. 6th-7th c. L Hi 28.6 cm

in; L
H 3i in, W
6 in, Wt Hi oz;
Collection Foroughi, Tehran
H 8 cm, W
15.4 cm, Wt 490 g
Collection Foroughi, Tehran 505. THREE-PRONGED SILVER FORK
(P 83l)
498. SILVER BOWL (psis) Sasanian. 6th-7th c.

In shape of a five-lobed leaf. L 7i in; L 18.1 cm

Collection Foroughi, Tehran
Dailaman. Sasanian. 7th c.
H If in, L 7i in, Wt 15 oz; H 4.5 cm,
L 18.3 cm, Wt 425 g 506. SILVER SPOON (P833)
Collection Foroughi, Tehran With fluted handle.

NXNEXY-TWO
 )

Sasanian. 6th-7th c. 515. THICK GLASS BOWL (p843)

L 9J in; L 25 cm With cut design of round medallions.
Collection Foroughi, Tehran
Dailaman. Sasanian. 7th c.
W
H 3 in, 41 in; H 7.7 cm, W 11 cm
507. SILVER SPOON (p834) Collection Foroughi, Tehran
The handle terminates in a gilded horse's
head. 516. GREEN GLASS BOWL (p844)
Sasanian. 6th-7th c With cut design of large circles.
L 7i in; L 18.5 cm Dailaman. Sasanian. 7th c.
Collection Foroughi, Tehran H 2i in, W
6i in; H 5.5 cm, W 15.7 cm
Collection Foroughi, Tehran
508. SILVER SPOON (psss)
Handle with twist design terminating in 517. FOOTED BOWL OF BLUE GLASS
a horse's head. (P845)
Sasanian. 6th-7th c. With thread design in relief.
L 7i in; L 19 cm Dailaman. Sasanian 7th c.
Collection Foroughi, Tehran
H 2i in, D 6f in; H 6.3 cm, D 17.2 cm
Collection Foroughi, Tehran
509. FOLDING SILVER SPOON (p836)
The handle terminates in a horse's head. 518. TRANSPARENT GLASS GOBLET
Sasanian. 6th-7th c. (P846)
L 6J in; L 15.5 cm With oval medallions.
Collection Foroughi, Tehran
Dailaman. Sasanian 7th c.
H 51 in, W 31 in; H 13.5 cm, W 9.7 cm
510. TRANSPARENT GREEN GLASS Collection Foroughi, Tehran
BOWL ON SMALL FOOT p 838 (

Thick walls. Relief decor in form of 519. GLASS GOBLET (p847)

small discs. With cut and molded relief decoration.
Dailaman. Sasanian. 6th-7th c. Dailaman. Sasanian. 7th c.
H 4 in, L 5 in; H 10.4 cm, L 12.5
Collection Foroughi, Tehran
cm H 21 in, W 3i in; H 7 cm, W 8 cm
Collection Foroughi, Tehran

511. TRANSPARENT GREEN GLASS 520. SMALL BOTTLE OF IRIDESCENT

BOWL (P839) GLASS (P848)
Relief decor. With twist design in relief.
Dailaman. Sasanian. 6th-7th c. Liiristan. Sasanian. 6th-7th c.
H 31 in, W
4 in; H 8.5 cm, 10 W cm H 5J in, W 21 in; H 13.2 cm, W 7 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

512. BOWL OF THICK GLASS (P840) 521. SMALL VASE OF OPAQUE YELLOW
With relief-cut design. GLASS (P849)
Dailaman. Sasanian. 7th c. With small disk-shaped relief decoration
W
H 4 in, 44 in; H 10 cm, W 10.5 cm in three rows.
Collection Foroughi, Tehran
Luristan. Sasanian. 6th-7th c.
H 3J in, W SI in; H
8 cm, W 9 cm
513. GLASS BOWL (p84i) Collection Foroughi, Tehran
With cut ornamentation forming a honey-
comb design. 522. SMALL VASE OF IRIDESCENT
Dailaman. Sasanian. 7th c. GLASS (P850)
W
H 2 in, 4 in; H 5 cm, 10 W cm With handle and fluted decor.
Collection Foroughi, Tehran Luristan. Sasanian. 6th-7th c.

H 41 in, W 34 in; H 12 cm, W 8 cm

514. THICK GLASS BOWL ( P 842 ) Collection Foroughi, Tehran
With cut honeycomb design.
Dailaman. Sasanian. 7th c. 523. SEAL: HORSEMAN PIERCING A
W
H 2i in, 41 in; H 5.8 cm, W 11 cm LION WITH HIS SPEAR (p853)
Collection Foroughi, Tehran Sasanian.
Illustrated Collection Foroughi, Tehran

NINETY-THREE
 :

524. BULLA OF UNFIRED CLAY (p856) 525. SMALL BOTTLE OF BROWN FIRED
With imprints of Sasanian seals. CLAY (P860)
Sasanian. With apphed barbotine decoration of
D 2} in, H U in; D 6.5 cm, H 4.8 cm four ovoid medallions in relief.
Collection Foroufj^lii, Tehran Sasanian. 6th-7th c.
H 8 in, W4i in; H
20.2 cm, W 11 cm
Collection Foroughi, Tehran

IRAN UNDER ISLAM

The Transition Period. 7th-9th c. 530. LUSTERWARE PLATE

Raised Molded geometric strap-
rim.
work gold luster and green, imitating
in
526. KORAN MANUSCRIPT IN KUFIC metalwork. Samarra ware found at Susa.
SCRIPT ON PARCHMENT Abbasid. 9th c.
Si.xteen per page. Ornate black
lines H J in, D 65 in; H 2 cm, 17.5 cmD
leather binding with blue, green, rose, Archeological Museum, Tehran. 3104
and gold insets, cut-outs, and tooling.
Abbasid. 9th c. Binding 16th c. 531. FOOTED POTTERY PLATE
H Si in, Wlit in; H 21 cm, 29.5 W cm Cream-white ware decorated in cobalt
Archeological Museum, Tehran. 4251
blue under a transparent glaze. In the
center, a palm tree with a sickle on one
527. KORAN MANUSCRIPT IN KUFIC side and a pendulum or falling coconut
SCRIPT ON PARCHMENT on the other. Encircling the rim are half
Double frontispiece illuminated in gold palmettes and large dots. On the back,
and reddish brown geometric designs. three feet are "pulled" out of the body.
Large bold hand, five lines per page. Samarra ware found at Nishapur.
Abbasid. Late 9th c. Abbasid. 9th c.
H 5^ in, W9J in; 14 cm, H 25 cm W H 2i in, D 9^ in; H 5.5 cm, 24 cm D
Archeological Museum, Tehran. 4317 Archeological Museum, Tehran. 3071
Illustrated BIBLIOGRAPHY
Arthur Lane, Early Islamic Pottery, London,
528. KORAN MANUSCRIPT IN KUFIC n.d., pi. 8b. A. U. Pope, A Survey of Persian

SCRIPT ON PARCHMENT Art, New York, 1939, pi. 574b.

Double illuminiated with
frontispiece
geometric designs in gold, orange, and 532. GLAZED POTTERY BOWL (P9i9*)
blue-black. Illuminated chapter headings Four midnight-blue flowers with large
and verse endings. Fifty leaves; fourteen petals on ivory ground. Samarra type.
lines per page. Binding: brown morocco Abbasid. 9th c.
tooled in gold with a few blue flowers. D 81 in, H 2t in; D
22 cm, H 6 cm
Interior: red and black, black cut-outs, Collection Foroughi, Tehran
gold borders.
Abbasid. 9th-10th c. 533. GLAZED POTTERY BOWL (p92o)
H 7i in, W 11 in; H 19 cm, 28 W cm Stylized blue plant on grayish gound.
Archeological Museum, Tehran. 4279 Samarra type. Found in Nishapur.
Abbasid. 9th c.
529. FLUTED BRONZE EWER H 21 in, D 8f in; H
7 cm, D 22.2 cm
Handle, wih knob-shaped thumb rest on Collection Foroughi, Tehran

top, ending in bovine and cervine heads.

Hinged lid is now missing. Post-Sasanian 533a.GLAZED POTTERY BOWL (p92i)
style. Ornamentation consisting of triangles
Gm-gan. 8th-9th c. and plant-like motifs in blue on grayish
H 9f in, D of opening If in; H 25 cm, D of white.
opening 4 cm Nishapur. Samanid. 10th c.
Archeological Museum, Tehran. 4800 H II in, 51 in; H 4.8 cm,
D W 14.3 cm
Illustrated Collection Foroughi, Tehran

>fINETY-FOUR
534. SMALL GLAZED POTTERY BOWL 540. GLAZED AND LUSTER-PAINTED
( P 923 ) POTTERY BOWL (p925)
Blue and green floral decoration on white On the inside, two birds in yellow luster
ground. Found in Nishapur. on white glaze; on the outside, an inscrip-
Abbasid. 9th c. tion and geometric motifs. Found in
H If in, D 6i in; H 4.5 cm, D 16 cm Nishapur. So-called post-Samarra luster
Collection Foroughi, Tehran ware.
Abbasid. 10th c.
535. GLAZED POTTERY BOWL (p922) D
H 2J in, 9i in; H
7.3 cm, D 23.6 cm
In the center, green inscription on white Collection Foroughi, Tehran
ground. Found in Nishapur.
Abbasid. 9th c. 541. GLAZED AND LUSTER-PAINTED
D
H 2i in, 71 in; H 6.3 cm, W 19 cm POTTERY BOWL
Collection Foroughi, Tehran
On the inside, stag in yellow luster on
white glaze; on the outside, inscription
536. GLAZED POTTERY BOWL (p916) and geometric motifs. Found in Nisha-
GraflBto decoration. Polychrome geomet- pur. So-called post-Samarra luster ware.
ric design in green, brown, and dark
Abbasid. 10th c.
purple. Imitation of T'ang splash ware. H 2 in, D 71 in; H 5.2 cm, D 19.4 cm
Found in Nishapur. Collection Foroughi, Tehran
Abbasid. 9th-10th c.
D I2i in, H 4 in; D 31 cm, H 10 cm
Collection Foroughi, Tehran
542. SMALL GLAZED AND LUSTER-
PAINTED POTTERY BOWL (p 927)
537. GLAZED POTTERY BOWL (p917)
On the inside, on white glaze, a human
figure in yellow luster surrounded by
GraflBto decoration and polychrome de-
dots of yellow luster; on the outside, seme
sign in dark green, brown, and purple on
of dots. Found in Nishapur. So-called
white. Lozenge motifs. Imitation of
post-Samarra luster ware.
T'ang splash ware. Found in Nishapur.
Abbasid. 10th c.
Abbasid. 9th- 10th c.
D 9i in, H 3J in; D
25 cm, H 8 cm H If in,D 4f in; H
4.3 cm, D 11.8 cm
Collection Foroughi, Tehran
Collection Foroughi, Tehran

538. GLAZED POTTERY BOWL 543. SMALL GLAZED AND LUSTER-

GraflBto decoration and polychrome de- PAINTED POTTERY BOWL (p 928)
sign in bown and green on white ground. Bird decorated with a ribbon, on a twig;
Imitation of T'ang splash ware. Found painted in yellow luster on white glaze.
in Nishapur, Found in Nishapur. So-called post- Sam-
Abbasid. 9th-10th c. arra luster ware.
H 2g in, D 8J in; H 6 cm, D 22.4 cm Abbasid. 10th c.
Collection Foroughi, Tehran H It in, D 31 in; H 3.5 cm, D 8.8 cm
Collection Foroughi, Tehran

544. GLAZED POTTERY BOWL (p933)

The Samank), Buvayhid, and Brown and yellow pseudo-luster decora-
tion. The central motif is of Sasanian ori-
Ghaznavid Periods, ioth-mid-
gin. Found in Nishapur.
llTH c. Abbasid. 10th c.
H 3 in, D 9i in; H 7.5 cm, D 24 cm
539. GLAZED AND LUSTER-PAINTED Collection Foroughi, Tehran
POTTERY BOWL (p924) Illustrated
On the inside, large bird in yellow luster
on white glaze; on the outside, epigraph- 545. GLAZED POTTERY BOWL (p959*)
ic and geometric decoration. Found in With brown birds on white ground,
five
Nishapur. So-called post-Samarra luster surrounded by dotted area. Local imita-
ware. tion of luster ware.
Abbasid. 10th c. Nishapm-. Samanid. 10th c.
H 2f in, D 9i in; H 7 cm, D 25 cm H 21 in, D 7 in; H
7 cm, D 18 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

NINETY-FIVE
 : :

546. GLAZED POTTERY BOWL (pqss) 551. GLAZED POTTERY BOWL (posr,)
Witli tho representation of a bird holding With two female musicians and animals
a fisli in its beak, exi^cuted in light yellow in brown and green on yellow ground.
and light brown. Found in Gurgan. Lo- Nishapur. Samanid. 10th c.
cal imitation of luster ware. H 3i in, D 61 in; H 8 cm, D 17 cm
Siunanid. 10th c. Collection Foroughi, Tehran
D
H 2i in, 78 in; H 7.3 cm, D 19.4 cm
Collection Fonnighi, Tehran 552. GLAZED POTTERY BOWL (P949*)
With seated woman in black, green, and
547. I^\RGE FIGURED POTTERY BOWL brick-red, on yellow ground. Rinceau
Cream pottery transparent glaze over on outside.
black, green, and yellow designs. A Nishapur. Samanid or later. lOth-llth c.
horseman with cheetah and homed prey H 3i in, D
7i in; H 9.5 cm, D 19 cm
are the central motifs; the remaining Collection Foroughi, Tehran
space is filled with birds, isolated Kufic
letters, rosettes, and other filling motifs.
553. GLAZED POTTERY BOWL (p955)
Everted rim. The unglazed outside is
With design mountain goat and
of a wild
decorated. dogs in black and green on yellow
Nishapur. Samanid. 10th c. ground.
D
H 4i in, 15 in; H 11.5 cm, 38 cm D Nishapur. Samanid. 10th c.
Archeological Mm^eum, Tehran. 3909
BIBLIOGRAPHY
H 31 in, D
5i in; H 8 cm, D 14.5 cm
Collection Foroughi, Tehran
Walter Hauser and C. K. Wilkinson, "The Mu-
seum's Excavations at Nishapur," Bulletin of the
Metropolitan Museum of Art, XXXVII, April 554. GLAZED POTTERY BOWL (p96o)
1942, p. 112, fig. 42. Decorated with black pseudo-Kufic writ-
Exhibited: Paris, 1948, no. 98; Rome, 1956, ing and green spots on yellow ground.
color pi. facing p. 224.
Nishapur. Samanid. 10th c.

548. LARGE GLAZED POTTERY BOWL H 2f in, D 8 in; H 7 cm, 20.2 D cm

Collection Foroughi, Tehran
(P946*')
Decoration in black, green, and yellow on
white ground, showing a falconer on the 555. POTTERY BOWL
hunt, framed along the edge by a pseudo- Decorated with a yellow, green, orange,
inscription of floriated Kufic. brown, and cream geometric design un-
Nishapur. Samanid. 10th c.
der a transparent glaze. Flat base.
D 12i in, H 4J in; D 31 cm, H 13 cm Nishapur. Samanid. 10th c.
Collection Foroughi, Tehran H 8i in, D 3i in; 21 cm,H 9.5 cm D
Exhibited: Rome, 1956, pi. a, p. 224. Archeological Museum, Tehran. 20803
BIBLIOGRAPHY
549. LARGE GLAZED POTTERY BOWL C. K. Wilkinson, Bulletin of the Metropolitan
(P948*)
Museum of Art, November 1938, XXXIII ( sec-
tion II), fig. 13.
Shades of black, green, and yellow
on a beige ground. Four cone-shaped
motifs alternate with pentagonal car- 556. WiTEIDRAWN
touches enclosing fom' persons, two of
them in profile view, and two with tri- 557. GLAZED POTTERY BOWL
(p950*)
angular faces seen frontally. One person Standing woman in black, yellow, and
with face in profile is in the center. green, surrounded by floral decor. Tan
Nishapur. Samanid. 10th c. ground.
D 111 in, H
3^ in; D 30 cm, H 9 cm Nishapur. Samanid. 10th c.

Collection Foroughi, Tehran H 3i in, D

7i in; H
8.7 cm, D 19 cm
Collection Foroughi, Tehran
550. GLAZED POTTERY BOWL (p986*)
Decorated \\ith a dancer and two birds, 558. GLAZED POTTERY BOWL (p953)
in black and brick-red on yellow With a horse and a dog in yellow, green,
ground. and black on beige ground.
BeHeved to have been foimd in Gurgan. 10th c. Nishapur. Samanid. 10th c.
H 31 in, D
7i in; H 9.3 cm, D 19 cm H 31 in, D 8i in; H 9 cm, D 22 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

NINETY-SIX
559. GLAZED POTTERY BOWL (p954) Nishapm-. 10th c.
With animals in yellow, green, and black H 6i in, D
5i in; H 17 cm, D 13 cm
on beige ground. Collection Foroughi, Tehran
Illustrated
Nishapur. Samanid. 10th c.
D
H 2i in, 81 in; 7 cm, H D 22.5 cm
Collection Foroughi, Tehran 566. SMALL GLAZED POTTERY BOWL
(P910)
560. GLAZED POTTERY BOWL (p938) Decorated with black pseudo-inscription.
With a wild mountain goat in black and Samarkand type.
white on brick -red ground. Nishapm-. 10th c.

Nishapm-. Samanid. 10th c.

H li in, D
4i in; 3.6 cm, H D 11.5 cm
Collection Foroughi, Tehran
H If in, D 41 in; 4 cm, H11 D cm
Collection Foroughi, Tehran
567. GLAZED POTTERY BOWL
(p902)
561. GLAZED POTTERY BOWL (p95i) Black inscription band on white engobe.
Decorated with a bird in black, brown, In the center, two large comma-shaped
and white, on red ground. figures. Samarkand type.
Nishapvtr. Samanid. 10th c. Nishapm-. Samanid. 10th c.
H 2i in, D lOi in; H 6 cm, D 26 cm H 2i in, D
8i in; 6 cm, H D 22.5 cm
Collection Foroughi, Tehran Collection Foroughi, Tehran

562. SMALL GLAZED POTTERY BOWL 568. Withdrawn

(P937)
With a bird in black, white, and yellow 569. GLAZED POTTERY BOWL
(P905)
on brick-red ground. Black inscription framing a bird in the
Nishapvtr. Samanid. 10th c. center; white engobe.
H H in, D
4J in; H
3.7 cm, D 12 cm Nishapm:. lOtli c.
Collection Foroughi, Tehran H 2i in, D
71 in; 6.3 cm, H D 19.5 cm
Collection Foroughi, Tehran
563. LARGE POTTERY BOWL
Cream ware with transparent glaze over 570. GLAZED POTTERY PLATTER (p9oo)
Kufic inscriptions in red and deep brown. Black inscription on white engobe
Two lines encircle the inside; the bottom along the rim. Samarkand type.
has two lines at right angles. Low ring Nishapm-. 10th c.
foot. H 2i in, D
16i in; 5.5 cm, H D 42.2 cm
Nishapm:. 10th c. Collection Foroughi, Tehran
H 5J in, D
171 in; H 15 cm, D 44 cm
Archeological Museum, Tehran. 21169 571. GLAZED POTTERY BOWL
(p904»)
Illustrated Black rinceaux carrying palmettes and
half-palmettes in black slip on white en-
564. LARGE POTTERY PLATE gobe; narrow inscription band in black
Cream ware with transparent glaze. A along the edge. Samarkand type.
deep brown Kufic inscription in East Nishapm:. Samanid. 10th c.
Persian style encircles the broad rim, D
H 2f in, lOi in; H 6 cm, D 26.5 cm
while a line of Kufic is placed across the Collection Foroughi, Tehran
center. The circular inscription is framed
by an undecorated area which closely 572. POTTERY BOWL
follows the outline of the letters. Beyond Covered with a blackish-browoi shp on
this, the field is filled with orange dots, white. The Arabic word haraka (bless-
large white dots, and arabesques. Flat ing) in pale green placed once on the
base. bottom and eight and a half times
Nishapm:. 10th c. around the slanting wall of the inside.
H 21 in, D
15 f in; H 6 cm, 39 cm D An angular cable pattern along the edge.
Archeological Museum, Tehran. 3911 The completely glazed exterior has three
simple green decorations on its sides.
565. GLAZED POTTERY PITCHER WITH Flat base.
HANDLE (P914) Jovain, Sabzevar (Khorasan). Samanid. 10th c.
Inscription in black slip on white ground. H 31 in, D 111 in; H 9* cm, 29^ cm D
Samarkand type. Archeological Museum, Tehran. 8542

NINETY-SEVEN
573. SMALL GLAZED POTTERY BOWL Nishapiu-. Samanid. 10th c.

(P912) H 2J in, D 8i in; H 7 cm, D 21 cm

Collection Foroughi, Tehran
Kufic inscription in white engobe on
a black slip ground. Samarkand type.
Nishapur. Sanianid. 10th c.
583. SMALL GLAZED POTTERY BOWL
H 2J in, D
5i in; H 7 cm, D 13.2 cm (P908)
Collection Forougtii, Tehran Ornamentation in slip on white engobe.
Illustrated Nishapur. Samanid. 10th c.
D
n 2^ in, 41 in; H 6.5 cm, D 11.8 cm
574. GLAZED POTTERY BOWL (p9ii) Collection Foroughi, Tehran
Grccnish-vvhite p.scudo-writing on a
black slip ground. Samarkand type. 584. SMALL GLAZED POTTERY BOWL
Nishapur. Samanid. 10th c. (P909)
H 2i in, D 8 in; H 6.5 cm, D 20.2 cm Design in blackish-brown slip on white
Collection Foroughi, Tehran engobe. Samarkand type.
Illustrated
Nishapur. 10th c.
H li in, D 4J in; H 4.7 cm, D 11.6 cm
575. SMALL GLAZED POTTERY BOWL Collection Foroughi, Tehran
(P978)
Black pseudo inscription under turquoise- 585. Withdrawn
blue glaze.
Nishapur. Samanid. 10th c.
H 2g in, D 21 in; H 6 cm, D 7.2 cm
586. SMALL GLAZED POTTERY BOW^L
(P929)
Collection Foroughi, Tehran
Black and brick-red slip on white engobe.
576. GLAZED POTTERY BOWL (p906) Nishapur. Samanid. 10th c.
H If in, D 5J in; H 4 cm, D 14.8 cm
Black design of a homed quadruped; on
Collection Foroughi, Tehran
white engobe ground.
Nishapur. Samanid. 10th c.
H 2\ in, D
5 in; H 5.6 cm, D 12.7 cm 587. GLAZED POTTERY BOWL
(p93o)
Collection Foroughi, Tehran Blackish-brown slip and yellow design
on white engobe.
577. GLAZED POTTERY BOWL (p907) Nishapur. Samanid. 10th c.
Decorated with a black bird in the cen- H 31 in, D 10^ in; H 8.5 cm, D 26.5 cm
Collection Foroughi, Tehran
ter; white engobe ground.
Nishapur. Samanid. 10th c.
H 21 in, D 5i in; H 6 cm, D 13.4 cm 588. GLAZED POTTERY BOWL (p93i)
Collection Foroughi, Tehran Black and brick-red slip floral decoration
Illustrated on white engobe.
Nishapur. Samanid. 10th c.
578. Withdrawn H 31 in, D 91 in; H 8.5 cm, D 24.5 cm
579. GLAZED POTTERY BOWL (p939) Collection Foroughi, Tehran
Illustrated
Two greenish white birds on deep brown
ground. Design inspired by luster ware.
Nishapur. Samanid. 10th c.
589. SMALL GLAZED POTTERY BOWL
H 21 in, D
10 in; H 7.2 cm, D 25.5 cm (P932)
Collection Foroughi, Tehran Black and brick-red shp design on white
engobe.
580. Withdrawn Nishapur. Samanid. 10th c.

H If in, D 5i in; H 4.5 cm, D 13 cm

581. GLAZED POTTERY BOWL (p958) Collection Foroughi, Tehran
Polychrome representation of a wild Illustrated

mountain goat looking backwards.

Nishapur. Samanid. 10th c. 590. GLAZED POTTERY BOWL (p934)
H 3f in, D
11 in; H 8.5 cm, D 19 cm Black and brick-red design of inter-
slip
Collection Foroughi, Tehran lace, floral designs, and pseudo-writing
on white engobe.
582. GLAZED POTTERY BOWL (p903) Nishapur. Samanid. 10th c.
Blackish-brown design on white engobe. H 3i in, D 10 in; H 9 cm, D 25.5 cm
A dot in the center. Samarkand type. Collection Foroughi, Tehran

NINETY-EIGHT
591. GLAZED POTTERY BOWL (p935) 598. GLAZED POTTERY BOWL (p979*)
Black and brick-red decoration of in-
slip With black and brick-red design on
terlace, floral designs, and pseudo-in- white ground, showing a quadruped
scriptions on white engobe. walking toward the left with its tail lifted
Nishapur. Samanid. 10th c. horizontally over its body; the latter is
H 3J in, D 101 in; H 9.5 cm, D 27.5 cm decorated with rinceaux in reserve.
Collection Foroughi, Tehran Gurgan, Sari, or Amol. 10th c.
H li in, D
6 in; 3 cm,H D 15 cm
Collection Foroughi, Tehran
592. GLAZED POTTERY BOWL (p936)
Black, brick-red, and yellow decoration
on white engobe. 599. GLAZED POTTERY BOWL (p98o)
Nishapur. Samanid. 10th c. With brown and brick-red bird, on white
H SI in, D 8 in; H 7 cm, D 20.3 cm ground.
Collection Foroughi, Tehran Gurgan. 10th c.
H 21 in, D 7i in; H 7.3 cm, D 19 cm
Collection Foroughi, Tehran
593. GLAZED POTTERY BOWL
(p94o)
Blackish-brown design of a stag on green
ground. 600. GLAZED POTTERY BOWL (p981*)
Nishapur. Samanid. 10th c. With a bird in deep brown and brick-
H 2t in, D 41 in; H 6 cm, D 12.4 cm red.
Collection Foroughi, Tehran Gurgan, Amol. 10th c.
Sari, or
H 2J in, D
7 in; H 7 cm, D 18 cm
Collection Foroughi, Tehran
594. GLAZED POTTERY BOWL (p94i)
With ornamentation of three green-
luster
ish-yellow triangles on an ox-blood-red 601. GLAZED POTTERY PLATE (p982)
ground. Black wild mountain goat and red and
Nishapur. Samanid. 10th c. brown rosettes, on a buff ground.
H 21 in, D 81 in; H 6 cm, D 22 cm Gurgan. lOth-llth c.
Collection Foroughi, Tehran H 2 in, D 61 in; H 5 cm, D 16.7 cm
Collection Foroughi, Tehran
Illustrated
595. GLAZED POTTERY BOWL (p942)
With incised underglaze design of large
curvihnear motifs in brown on white 602. BOAT-SHAPED GLASS (P837*)
ground. Vessel of transparent yellow glass with
Nishapur. Samanid. 10th c. two round handles. The relief-cut dec-
Dimensions 13f x 4t Dimensions 34 x 11
in; cm oration consists of two spirals in high re-
Collection Foroughi, Tehran lief on each side,
Samanid 9th-10th c.
H 3J in, L 4 in; H
9.5 cm, L 10 cm
596. POTTERY BOWL Collection Foroughi, Tehran
Red ware with white and brown under Illustrated
transparent glaze;touches of green.
Pigeon and filling plant forms in champ-
leve graflBto. Exterior glazed green. Flat 603. GLOBULAR BLUE GLASS BOTTLE
base. WITH SILVER TOP
Garrus. llth-12th c. Wheel-cut concave design of vertical
H 2i in, D6J in; H7 cm, 16.5 cmD ovals on neck and horizontal ovals on
Archeological Museum, Tehran. 3173 body and incised linear details. The sil-
ver top on the high neck, with a drop
spout and a stopper, is encircled by a
597. GLAZED POTTERY BOWL (p952) Kufic inscription of blessings in niello.
Decorated with a wild mountain goat in
Gurgan. 9th-10th c.
pale green, brown and brick-red, on H 9i in, H of silver top H in, C at waist 4| in;
white ground. H 25 cm, H of silver top 3 cm, C at waist 11 cm
Nishapur. Samanid. 10th c. Archeological Museum, Tehran. 8285
H 31 in, D lOi in; H 9.7 cm, D 26.8 cm Exhibited: Rome, 1956, no. 448, pi. 67.
Collection Foroughi, Tehran Illustrated

NINETY-NINE
604. GLOBULAR DARK-GREEN GLASS niBLIOGHAPHY:
BOTTLE R. Ettingliausen, "The Beveled Style in the
Post Samarra Period, "Archaeologica Orientalia,
V\'heel-ciit on tlie body with three regis-
Locust Valley, N.Y., 1952, p. 81, fn. 22.
ters of ten concave circles each; every
Illustrated
other circle circular
contains a raised
center. Neck also ornamented with hol-
low-cut design. Seven-pointed star on
609. SILVER SALVER
bottom. Decorated with foliated Kufic inscriptions
in niello, which encircle the rim and the
Gurgan. Sth-9th c.
II li in,D of mouth 1 in, C of waist 4| in;
bottom and give the name of the prince
H 20 cm, D of mouth 2.5 cm, C of waist 11 cm for whom the dish was made. Amir Abu'l
Arclu'olofiical Museum, Tehran. 8287 'Abbas Valkin ibn Harun, Client of the
Illustrated Commander of the Faithful (the Ab-
basid Caliph in Baghdad).
605. BLUE GLASS BOTTLE Azerbaijan. Ca.957

Wheel-cut, concave design of nine ovals H 1 in, D

14} in; 2.5 cm, H
36 cm D
Archeological Museum, Tehran. 4183
in rectangles on the body and six large
BIBLIOGRAPHY:
facets on the neck.
Douglas Barrett, Islamic Metalwork in the Brit-
Gurgan. 9th-10tli c. ish Museum, London, 1949, p. 6. A. U. Pope,
H 41 in, D of neck If in, D of base If in; A Survey of Persian Art, New York, 1939, pi.
H 12 cm, D of neck 4.3 cm, D of base 7 cm 1346b. G. Wiet, L' Exposition persane de 1931,
Archeological Museum, Tehran. 8283 Cairo, 1933, p. 20, pi. 2, top.
Illustrated Exhibited: London, 1931, no. 139 i.

606. BLUE GLASS BOTTLE 610. SILVER EWER

With tapering neck and flaring lip. Decorated with foliated Kufic inscrip-
Wheel-cut concave design of two rows of tions and a design on top of the rim in
seven concentric circles each. niello work. Part of the same set as no.
Gurgan. 9th-10th c. 609, made for Amir Abu'l Abbas Valkin
H 4^ in, D of neck li in, C of waist Si in; ibn Harun. Handle now missing.
H 11.5 cm, D of neck 3.3 cm, C of waist 8 cm Azerbaijan. Ca. 957
Archeological Museum, Tehran. 8288
H lOi in, D
of base 3i in; 26 cm, H D of base
Illustrated
9.5 cm
Archeological Museum, Tehran. 4178
607. WHITE GLASS BOTTLE WITH BIBLIOGRAPHY:
FLARING NECK Douglas Barrett, Islamic Metalwork in the Brit-
Car\'ed with a circle of three styHzed ish Museum, London, 1949, p. 6. A. U. Pope,

buds around the neck, two registers of A Survey of Persian Art, New York, 1939, pi.
1345b. G. Wiet, L'Exposition persane de 1931,
five palmettes each on the body and an
Cairo, 1933, p. 19, pi. 1, right.
asymmetrical star around a circle on the
Exhibited: London, 1931, no. 139f.
bottom.
Gurgan. 9th-10th c.
61L SILVER DISH
H 6^ in, D
at top If in, D
at base 3i in;
Small niello partridge in center of eight
H 16.5 cm, D
at top 4.5 cm, at base 8 cmD plain petals in repousse pearl back-
Archeological Museum, Tehran. 8284
bibliography: ground. Low ring foot.
M. Bahrami, Iranian Treasures, New York, 1949, lOth-llth c.

No. 33, fig. 15. R. Ettinghausen, "The Beveled H If D

7i in;
in, 3.5 cm, H
19 cm D
Style in the Post Samaira Period," Archaeologi- Archeological Museum, Tehran. 4406
ca Orientalia in Memoriam Ernst Herzfeld, Lo- Illustrated
cust VaUey, N.Y., 1952, p. 81, fn. 22.
Exhibited: Paris, 1948, no. 130. 612. GOLD PENDANT
Shaped like a diamond surrounded by
608. DARK-GREEN BOTTLE forty-five pointed elements. In the cen-
With Boldly carved; irregu-
flaring neck. ter, a Kufic inscription and two facing
lar design on bottom. birds. Plain back.
Gurgan. 9th-10th c. Believed to be from Gurgan. Buvayhid. 11th c.
H 6i in, D
of top If in, D
bottom 3J in;
of H 5 in, W5 in; H 12.5 cm, W 12.5 cm
H D
15.5 cm, D of bottom 8 cm
of top 4.5 cm, Archeological Museum, Tehran. 8520
Archeological Museum, Tehran. 3766 Illustrated

ONE HUNDRED
 ::

613. GOLD BRACELET Gilan. Seljuk. 11th c.

Decorated with granulation work and H If in, D at bottom If in; H 4.5 cm, D at
repousse animals: two seated dogs with bottom 4.5 cm
Archeological Museum, Tehran. 11625
heads reversed; two hares; two felines
Illustrated
and a bird; and an encircling black in-
scription.
617. NECKLACE OF EIGHTY-NINE
Believed to be from Gurgan. Buvayhid. 11th c, ELEMENTS
D 4i in; D
10.5 cm
Forty-two gold beads of various sizes and
Archeological Museum, Tehran. 3511
shapes, fourteen black stone or glass
hands, ten different fihgree and granu-
lated dangles, one of which still contains
turquoise inlays, five Islamic coins (one
The Seljuk Period, mid iith-mid of which is of the Buvayhid Izz al-Dow-
leh, dated 975, while the four others are
13TH c.
by the Fatimid Caliph of Egypt, al-Amir,
1101-1130), two gold-capped, eight-sid-
614. PART OF A KORAN ed silver bars, two lumps of jade set in
Written in Easern Kufic or Muhaqqaq gold, an amulet case, and the center
script in black ink on dull cream paper. pendant, which consists of a stylized bird
Richly decorated double frontispiece standing on a platform decorated with
pages and other illuminations, mairily in two birds composed of flat wire.
gold and white with additional use of Seljuk. 12th c.

red, blue, and green. 120 leaves. L 12f in; L 32.5 cm

Archeological Museum, Tehran. 8635
Seljuk. 11th c.
H 10 in, W84 in; H
25.2 cm, 20.7 W cm Illustrated

Archeological Museum, Tehran. 4316

BIBLIOGRAPHY 618. TWO GOLD EARRINGS AND A
M. Bahrami and M. Bayani, Guide to an Ex- GOLD NOSE RING
hibition of Koran Manuscripts (in Persian), One earring composed of three open-
Tehran, 1949, fig. 3. A.U. Pope, A Survey of work gold beads and a slightly oval
Persian Art, New York, 1938-39, V, pis. 930d, carnelian; the other, of three gold fili-
932. gree beads surrounding the set stone,
Exhibited: London, 1931, no. 126g; New
York, 1949, no. 48, fig. 23.
now missing. The nose ring composed of
three smaU gold balls and a pearl that
shdes along its wire.
615. KORAN MANUSCRIPT Seljuk. 12th c.
Four parts with Persian translation and Wt .07 oz, .14 oz, .035 oz; Wt 2 g, 4 g, 1 g
commentary by Abu Bakr Atiq Surabadi Archeological Museum, Tehran. 8627, 8622,
written by Munammad b. Isa b. Muham- 8626
mad b. Ali al-Laythi of Nishapur about Illustrated: one earring
584 A.H./A.D. 1188 for the Ghorid King
Ghiyath al-Din Muhammad b. Sam 619. GOLD EARRING
(1162-1202). Illuminations use much In the form of a filigree crescent with a
gold, blue, green and orange. 502 leaves. loop on either side.
Binding with blind-stamped leather Seljuk. 12th c.

showing interlaced pattern of the 13th c. Wt .23 oz; Wt 6.5 g

Archeological Museum, Tehran. 8624
Seljuk.End of 12th c.
H 16J in, W
121 in. Depth at binding 3i in; 620. GOLD RING
H 41 cm, W
31.5 cm. Depth at binding 10 cm Boss decorated with relief of a walking
Archeological Museum, Tehran. 3499
winged griflSn before a vine; band with
BIBLIOGRAPHY
inscription of three naskhi lines.
M. Bahrami and M. Bayani, Guide to an Exhi-
bition of Koran Manuscripts (in Persian), Teh- Seljuk. 12th c.

ran, 1949, no. 30-33, fig. 4. C 34 in, Hof boss f in; C 8 cm, of boss 2 H cm
Exhibited: New York, 1949, no. 52, fig. 24. Archeological Museum, Tehran. 3510
Illustrated

616. GOLD SWORD POMMEL 621. BRONZE INCENSE BURNER IN THE

Decorated with three seated winged Uons SHAPE OF A BIRD
in repouss^. The upper part of the bird's body and

ONE HUNDRED ONE

 :

the tip of tlio tail fonii an openwork Eastern Iran. Seljuk. 12th c.
floral tho head and lower part
ixitttMii; H without liandle 6S in, D at rim 7i in; H with-
out handle 17.5 cm, D at rim 18.5 cm
of the bocK' are covered with chased de-
Archeological Museum, Tehran. 4356
signs, certain sections of which indicate
Illustrated
stylized feathers, while others show ani-
mal motifs.
Ciirgan. Late 11th c.
626. HEAVY BRONZE MORTAR
II of whole 78 in, H of each part 4 J in, L Si in; The eight sides are separated by attached
H of whole 22 cm, H of each part 11 cm, columns. Every other panel is deco-
L 121.5 cm rated by the relief head of a bull with a
Arclicological Museum, Tehran. 8385 ring in its mouth. The other four panels
Exhibited: Rome, 1956, no. 411, pi. 64. are decorated with "king's companions"
Illustrated
in the round: a wine pourer holding a
beaker and a jug, a flute player, a tam-
622. BRONZE LION INCENSE BURNER bourine player, and a two-stringed lute
Highly stylized animal with a reticulated player. Engraved borders,
floral pattern covering the neck and Meshhed, Seljuk. 12th c.
body; the raised tail also shows an open- H 6J in, D 8J in; H 15.5 cm, D 22.5 cm
work pattern. Kufic inscription on the Archeological Museum, Tehran. 8638
Illustrated
chest. Believed to have been found in
Gurgan.
Scljuk. 12th c.
627. HEMISPHERICAL BRONZE BOWL
L 111 in: L 29 cm Outside decorated with five engraved
Archeological Museum, Tehran. 4497. registers: a naskhi inscription; a linear
Exhibited: Paris, 1948, no. 104; New York, triangle design; the twelve zodiac figures
1949, no. 40, fig. 20. in roundels; ten running animals; a floral
Color plate arabesque; and in the center, inside a
six-pointed star enclosed by a frame of
overlapping half-circles, a plump, seated
623. SIX-SIDED BRONZE INCENSE
animal. The inside shows lightly incised
BURNER circle design.
In the shape of a box with a little cupola
Gurgan. Early 13th c.
on top. The center panels and the dome
show an ajour scrollwork pattern, while
H 4f in, D lOi in; H 11.5 cm, D 26 cm
Archeological Museum, Tehran. 4804
other parts are covered with a chased de- BIBLIOGRAPHY:
sign. R. Ettinghausen, "The Wade Cup in the Cleve-
Probably Eastern Iran. Seljuk. 12th c. land Museum of Art, Its Origin and Decora-
H of whole 5^ in, H of top 3J in, H of can IJ in, tions," Ars Orientalis, II, 1957, fig. 22, p. 356.
H of bottom 2f in, W
of unit 3| in, of can W Illustrated
2| in; H of whole 14 cm, H of top 8 cm, H of
can 5 cm, H of bottom 6.8 cm, W
of unit 10
628. LARGE CIRCULAR BRONZE TRAY
cm, Wof can 6.5 cm
WITH GOLD AND SILVER
Archeological Museum, Tehran. 3463
Illustrated
INLAYS
The central decoration consists of a hunt-
ing scene in a landscape full of wildfowl
624. ROUND BRASS TRAY and other animals. This is surrounded by
With bands of inscriptions, ani-
circular several registers filled with running ani-
mals, and an arch and tassel design mals, hunters on various mounts, sym-
around a central knotted-star pattern. bolic figures of the moon, arabesques,
Probably Eastern Iran. Seljuk. 12th c. and tassel and floral designs. Formerly in
H li in, D 13i in; H 3.9 cm, D 33.5 cm the Golestan Palace.
Archeological Museum, Tehran. 3495
Iraq. Seljuk. Early 13th c.
D 241 in; D 63 cm
Archeological Museum, Tehran. 3527
625. BRONZE BUCKET BIBLIOGRAPHY
The chased design enriched by copper M. Dimand, "A Review of Sasanian and Is-
inlaysshows a large inscription express- lamic Metalwork in A Survey of Persian Art,"
ing good wishes to the anonymous own- Ars Islamica, VIII, 1941, p. 210. A. U. Pope, A
er, animal friezes, roundels with figural Survey of Persian Art, New York, 1939, VI, pi.
motifs, interlace pattern, and scrollwork. 1331.

ONE HUNDRED TWO

 :

629. BRONZE CANDLEHOLDER WITH 634. GLAZED POTTERY BOWL (piosi)

GOLD AND SILVER INLAY With underglaze incised ornamentation.
The main roundels on the base show Gurgan. Seljuk. Early 13th c.
mounted hunters. From the Ardabil H 21 in, D 6i in; H 6.8 cm, D 15.5 cm
Shrine. Collection Foroughi, Tehran

Iraq. Seljuk. Early 13th c.

H 16^ in; 42 cmH 635. GLAZED POTTERY BOWL (pi03o)
Archeological Museum, Tehran. 3529 The decoration consists of a black bird
bibliography: and an incised curvilinear design under a
M. Dimand. "A Review of Sasanian and Islamic turquoise blue glaze.
Metalwork in A Survey of Persian Art," Ars Is- Gurgan. Seljuk. Early 13th c.
lamica, VIII, 1941, p. 210, A. U. Pope, Sur- A H Si in, D 8f in; H 9 cm, D 22 cm
vey of Persian Art, New York, 1938-39, VI, pi. Collection Foroughi, Tehran
1332.
Exhibited: London, 1931, cat. no. 208, Sou-
venir, pi. 23 left. 636. GLAZED POTTERY EWER (p977)
White glaze now showing iridescence.
Nishapur. 12th
630. POTTERY BOWL Dimensions 5J x 9i
c.
in; Dimensions 13 x 24 cm
Red body with yellowish transparent Collection Foroughi, Tehran
glaze over cream slip, painted with
green and brown triangles with incised 637. POTTERY BOWL
scrollwork designs. Two sketchily drawn White engobe with four black rays with
duck heads on opposite sides. Pseudo- negative pseudo-Kufic inscriptions under
Kufic inscription in the center. Flat foot. a clear, colorless glaze. Ring foot.
Gurgan. 11th c. Seljuk. 12th c. (?)
H 4 in, D 9i in; H
10 cm, D 24 cm H 3f in, D 8i in; H
9 cm, D 21 cm
Archeological Museum, Tehran. 4405 Archeological Museum, Tehran 4116

631. POTTERY BOWL 638. POTTERY BOWL

Red body with cream slip and green and Decorated with seven barakas, one ex-
brown painting, as well as incised de- tended, and a palmette rim in black un-
signs,under transparent yellowish glaze. der a transparent blue glaze. Unglazed
Signature of the artist inscribed on the ring foot.
inner rim. Outside unglazed, but with Rayy. Seljuk. 12th c.
slip to shoulder. Ring foot. H Si in, D 81 in; H 9 cm, D 21 cm
Archeological Museum, Tehran. 3195
Amol. 11th c.
H 4J in, D IH in; H 12 cm, D 28 cm
Archeological Museum, Tehran. 4403 639. TURQUOISE POTTERY BOWL
A deep-carved band around the exterior
shows a goat, a fox with head reversed,
632. POTTERY PITCHER and a fat tiger among foliage. All three
Red ware decorated with graffito designs
animals have bulky bodies, smiling faces,
in green and cream slip under yellowish
and tiny legs stretched out in the flying-
transparent glaze. Foot unglazed.
gallop position.
Amol. 11th c.
Gurgan. Seljuk. 12th c.
H lOf in, D of neck 3| in; H 2«.5 cm, D of
H 4i in, D
74 in; H 11.5 cm, D 18 cm
neck 8.5 cm
Archeological Museum, Tehran. 3162
Archeological Museum, Tehran. 3213
BIBLIOGRAPHY
Illustrated
A. U. Pope, A Survey of Persian Art, New York,
1939, pi. 599.
633. LARGE POTTERY PLATE Exhibited: London, 1931, Cat. no. 107f, Sou-
Blackish-brown body covered with deep venir, pi. 61.
yellow with touches of green in the de-
signs. An incised knot design in the cen- 640. POTTERY PITCHER WITH HANDLE
ter and two sections of floral graffito on (P1025)
the flat rim. Back is chartreuse glazed. Molded decoration. Under turquoise
Low ring foot. glaze.
Mazanderan. 11th c. Gurgan. Seljuk. Early 13th c.

H 31 in, D
16^ in; H 9 cm, D 42 cm H 8i in, D 6i in; H 21 cm, D 16 cm
Archeological Museum, Tehran. 4806 Collection Foroughi, Tehran

ONE HUNDRED THREE

641. GLAZED POTTERY BOWL (pioio) 647. DEEP POTTERY BOWL
With moldod design and
interlace Divided into quadrants by a central
pierced background, covered by a mid- cross motif. The painting under the
night-blue glaze. transparent, colorless glaze consists of
RiiNy. Sdjuk. Early 13th c. inscriptions, birds, and formal designs,
H 4 in. D8J in; H10.3 cm, D 22.5 cm partly of floral origin, in black and blue
Collection Foroti^/ii, Tehran on white cngobe. Kashan style.
Seljuk. Early 13th c.

642. GLAZED POTTERY BOWL (pi02o) H 3} in, D at rim 8J in, D at base 31 in;
Decorated with a row of horsemen in H 9.5 cm, D atrim 20.5 cm, D at base 8.5 cm
Archeological Museum. 4762
relief under midnight-blue glaze.
bibliography:
Rayy. Soljuk. Early 13th c.
M. Bahrami, Gurgan Faiences, Cairo, 1949, pi.
H 3} in, D 5 in; H
9.5 cm, D 12.5 cm 25.
Collection Foroughi, Tehran
Illustrated

643. GLAZED POTTERY EWER (P1022) 648. LARGE FLAT POTTERY PLATE
With head of a wild mountain goat. Dark WITH A STAR DESIGN
blue glaze. The surface of the interior is divided by
Gurgan. Early 13th c.
Seljiik. inscription bands
into six triangular
D
H 8J in, 5J in; H 22.5 cm, D 14 cm panels with formal designs, executed in
Collection Foroughi, Tehran black and blue on a white engobe ground
under a transparent, colorless glaze.
644. POTTERY EWER COVERED WITH Kashan style.
TURQUOISE-BLUE GLAZE Seljuk. Early 13th c.
( P 1024 ) H 2f in, D
12i in; 7 cm, H
31 cm D
On the belly, molded decor in low relief Archeological Museum, Tehran. 8225
showing pairs of facing harpies and
birds, with human heads above the lat- 649. DEEP POTTERY BOWL WITH A
ter; the long neck ends with a spout in RADIATING DESIGN
the shape of a highly stylized head of a The interior is divided by inscription
wild mountain goat. bands into eight panels filled with a seme
Gm-gan. Seljuk. Early 13th c. of fleur-de-lis, painted in black and blue
Dimensions 5i x 9J in; Dimensions 14 x 35 cm on white engobe. Transparent, colorless
Collection Foroughi, Tehran glaze. Kashan style.
Seljuk. Early 13th c.
645. BLUE POTTERY ELEPHANT (pioog) H 35 in, D
81 in; 10 cm, H D 22.5 cm
Archeological Museum. 4761
A mahout sits on the elephant's neck be-
hind the ears; to the man's right is a
spout. Around the empty, open howdah 650. POTTERY BOWL (piooe)
on the elephant's back are a drummer, a Interior exterior cream slipped under
and
flute player, and a tambourine player a transparent glaze. Inside, cobalt-blue
(right, center, and, left, respectively). stripes radiate out to the rim from a
Seljuk. Early 13th c.
stylized cobalt-blue bird in a small cir-
H 34 cm, L 23.5 cm cle in the center. Ring foot. Kashan style.
Archeological Museum, Tehran. 3341 Gurgan. Early 13th c.
Seljiik.
Exhibited: Paris, 1949, no. 107. H 3i in, D
lOf in; H 10 cm, 27 cm D
Illustrated Archeological Museum, Tehran. 8223

646. DEEP POTTERY BOWL WITH A 651. POTTERY BOWL

RADIATING DESIGN Decorated with black-star design edged
The painting under the transparent, col- with cobalt blue under a transparent
orless glaze of inscriptions,
consists turquoise glaze. In the black are nega-
birds, and floral designs in black and tive naskhi inscriptions. Exterior has
blue on white engobe. Kashan style. willow-weed pattern. Ring foot. Kashan
Seljuk. Early 13th c. style.
D
H IJ in, of rim 9| in, D of base 31 in; Gurgan. Seljuk. Early 13th c.
D
H 4.5 cm, of rim 23 cm, of base 9 cm
D H 35 in, D 8i in; H 9.5 cm, D 21.5 cm
Archeological Museum, Tehran. 4763 Archeological Museum, Tehran. 2229

ONE HUNDRER FOUR

652. GLAZED POTTERY PITCHER WITH bibliography:
HANDLE (P1027) M. Bahrami, Gurgan Faiences, Cairo, 1949, pi.
24.
Black rinceaux between blue stripes;
Exhibited: Paris, 1948, no. 105, pi. 61.
white ground. Iridescence. Kashan style.
Color plate
Gurgan. Seljuk. Early 13th c.
H 7J in, D 41 in; H 20 cm, D 12 cm 658. BLUE POTTERY HORSEMAN (p lois)
Collection Foroughi, Tehran
He carries a cheetah on the rump of
his
horse, holds the single rein in his right
653. BULBOUS GLAZED POTTERY JUG hand, and in his left, an adz against his
(P 1028) shoulder. A shield is carried on his back.
Black design under turquoise-blue glaze. The statuette is now partly covered by
Kashan style. iridescence, which obliterates the black
Gurgan. Seljuk. Early 13th c. willow design characteristic of the Ka-
H 7i in, D 5i in; H 18.5 cm, D 13 cm shan pottery style. The turquoise glaze
Collection Foroughi, Tehran extends into the open crown of the head.
Gurgan. Seljuk. Early 13th c.
H lOi in, L 8^ in; H 27 cm, L 21.5 cm
654. GLAZED POTTERY BOWL (pi029) Archeological Museum, Tehran. 4757
Black rinceau under a turquoise blue Exhibited: Paris, 1948, no. 106.
glaze. Kashan style.
Gurgan. Seljuk. Early 13th c. 659. LUSTER-PAINTED POTTERY BOWL
H 4 in, D 7J in; H 10 cm, D 20 cm (P 1033*)
Collection Foroughi, Tehran Low foot and flat horizontal rim with a
design of running quadrupeds. The
bottom of the bowl is decorated with
655. DOUBLE-WALLED EWER WITH A seated persons arranged in a
RETICULATED OUTER WALL circle

Black design under a turquoise glaze.

around a figure in the center, Rayy luster
style.
The outer shell is in the form of a guil-
loche pattern; the spout is attached to the Gurgan. Seljuk. Late 12th or early 13th c.

inner vessel, so that the piece is function-

H 2t in, D 71 in; H 6 cm, D 19.5 cm
Collection Foroughi, Tehran
al. The word haraka is inscribed around
the mouth. The base has the willow
660. GLAZED POTTERY BOWL (pioi?*)
weed pattern typical of Kashan wares. With a luster decoration of horsemen and
Gurgan. Seljuk. Early 13th c. trees; design related to the Minai ware.
H lOi in, D of top 3J in, D of base 5i in; Rayy luster style.
H 27.5 cm, D of top 10 cm, D of base 13 cm
Archeological Museum, Tehran. 4767 Rayy. Seljuk. Late 12th c.
bibliography: H 41 in, D 8i in; H 12.3 cm, D 21.9 cm
Collection Foroughi, Tehran
M. Bahrami, Gurgan Faiences, Cairo, 1949, pi.
20.
Exhibited: New York, 1949, no. 36, fig. 18. 661. WIDE-MOUTHED LUSTERWARE
Illustrated PITCHER
White glaze on the inside and outside.
Decorated with a leaf pattern on the top
656. GLAZED POTTERY JAR (pi026) of the belly above a trelHs pattern, which
Openwork design on neck. Four little is also to be found on the neck. There
vases are attached to the middle of the is a naskhi inscription around the outer
body. The glaze shows iridescence. lip and pseudo-calligraphy inside the
Gurgan. Seljuk. Early 13th c. mouth and on the handle. Kashan luster
H 9i in, D 5^ in; H 23.5 cm, D 13 cm style.
Collection Foroughi, Tehran
Gurgan. Seljuk. Early 13th c.
H 7iV in, D at top 3i% in, D at base 2i in;
657. POTTERY HOOPOE (pioos) H 18 cm, D at top 9 cm, D at base 6 cm
Cream colored with turquoise touches; Archeological Museum, Tehran. 4775
covered with a raised floral pattern.
Gurgan. Seljuk. Early 13th c.
662. BIG-BELLIED LUSTERWARE
H 15f in, D of base 4i in; H 40 cm, D of base PITCHER
11.5 cm Gold luster decoration of naskhi writing,
Archeological Museum, Tehran. 4751 birds, and leaf patterns in reddish brov^ni

ONE HUNDRED FIVE

 with touches of bUie on a wliite glaze. 668. LOW POTTERY TAZZA WITH
Handle carries a hraided design on its POLYCHROME OVERGLAZE
flat side and a small knob at the top. PAINTING (pioh)
Narrow neck; low ring foot. Kashan Decorated with four horsemen outlined
luster style. in black and painted in deep blue, tur-
Curgan. Seljuk. Early 13th c. quoise, and reddish-brown on a white
II 7J in,D at top 13 in, D at base 3S in; engobe under clear glaze. All the horse-
H 20 cm, D at top 3.5 cm, D at base 8.5 cm men have different hand and arm posi-
Archcological Museum, Tehran. 4765 tions: one carries a falcon and another,
drawn but not colored, rides in the op-
posite direction from his fellows. Cen-
663. LUSTERWARE BOWL
A man with lovelocks and a woman, on tral star pattern. Pseudo-Kufic inscrip-
tion around the edge. So-called Minai
his left, with long split braids, are seated
background of birds among ware.
against a
leaves. The interior rim has a naskhi in- Rayy. Seljuk. Ca.l200
scription, the exterior a repeat of Kufic
H 2i in,D of dish 8! in, D of base 31 in;

letters. High ring foot. Kashan luster

H 6.5 cm, D of dish 22.5 cm, D of base 8.5 cm
Arclieological Museum, Tehran. 4408
style.
Kashan. Seljuk. Early 13th c.
H 3J in, D 8i in; H 10 cm, D 20.5 cm 669. POTTERY BOWL WITH
Archeological Museum, Tehran. 8324 POLYCHROME OVERGLAZE
PAINTING
On the bottom, under a dull blue glaze,
664. LARGE LUSTER-PAINTED a horseman holds a falcon with four
POTTERY EWER (pi023) gracefully sketched black birds in black
The design consists of four human figures, foliage; on the sides is a red, green, black,
two of them in turquoise-blue and two and white arabesque pattern. The rim
on white glaze; the other areas are cov- has a Kufic inscription expressing bless-
ered by a dark-blue glaze. ings and good wishes. Around the ex-
Gurgan. Seljuk. Early 13th c.
terior is another Kufic inscription. Ring
H 13f D
71 in;
in, H
34.5 cm, D 20 cm foot. So-called Minai ware.
Collection Foroughi, Tehran
Rayy. Seljuk. Early 13th c.
D
H 3| in, at rim 7J in, D at base 2f in;
665. LUSTER-PAINTED POTTERY EWER H 8.5 cm, D at rim 20 cm, D at base 7 cm
WITH HANDLE (pioai) Archeological Museum, Tehran. 3200
bibliography:
Cylindrical neck and curved spout. An
A. U. Pope, "The National Museum in Teh-
inscription is on the middle of the ewer,
ran." Bulletin of the Iranian Institute, New York,
as well as a rinceau above and a frieze of December 1946, p. 90, fig. 14.
leaves below it. Color plate
Gurgan. Seljuk. Early 13th c.
H 81 in, D 6i in; H 22 cm, D 16 cm 670. POTTERY BOWL WITH
Collection Foroughi, Tehran
POLYCHROME OVERGLAZE
PAINTING (P1018*)
666. LUSTER-PAINTED POTTERY The design shows a large horseman in
PITCHER WITH HANDLE (p 1032) blue attire on a brown horse. So-called
Decorated with leaf motifs and inscrip- Minai ware.
tions. Rayy. Early 13th c.
Gurgan. Seljuk. Early 13th c. H 3f in, D 8i in; H 8.6 cm, D 21 cm
H 6 in, D 7 in; H 15 cm, D 18 cm Collection Foroughi, Tehran
Collection Foroughi, Tehran

671. TURQUOISE POTTERY BOTTLE

667. SMALL LUSTER-PAINTED POTTERY (p 1012)
BOWL (P1035A) Long thin neck ends in cup mouth. Dec-
Two horsemen separated by a stylized orated with raised, hollow, pierced gold
tree. excrescences: three on collar, six on
Gurgan. Seljuk. Early 13th c. shoulder, and six on sides; relief gold
H If in, D 4 in; H 4 cm, D 10 cm arabesques and flat, black patterning, all
Collection Foroughi, Tehran within red guidelines. Low ring foot.

ONE HUNDRED SIX

i
 Giirgan. Seljuk. Early 13th c. 678. GREEN GLASS EWER WITH
H 121 in, D
at top 3f , D
at base 3| in; HANDLE (P1061)
H 32 cm, D
at top 8 cm, D
at base 8 cm Giu-gan. Seljuk. Early 13th c.
Archeological
BIBLIOGRAPHY
Museum, Tehran. 4753 H 81 in, W 4i in; H
21.8 cm, W 10.5 cm
Collection Foroughi, Tehran
M. Bahrami, Gurgan Faiences, Cairo, 1940, pi.
32.
Exhibited: Paris, 1948, no. 117; New York, 679. GLASS VASE WITH ONE HANDLE
1949, no. 34, fig. 16; Rome, 1956. (P 1062)
Color plate Now showing iridescence.
Giu-gan. Seljuk. Early 13th c.
672. DEEP-BLUE GLASS BOTTLE H 6 in, W 4 in; H
15 cm, W 10 cm
From the oval bottom, the thin-walled Collection Foroughi, Tehran
vessel swells to its shoulder and narrows
into a long, narrow neck.
680. OVOID-SHAPED VESSEL OF THICK
Nishapur. Seljuk. llth-12th c,
GREEN GLASS IN FORM OF A
H 7i in: 20 cmH POMEGRANATE ( p i063
Archeological Museum, Tehran. 3952
A small, round orifice and a small handle
673. GLASS ANIMAL CARRYING TWO are located at the top. Body with mold-
UNGUENTARIA ed honeycomb design.
The body is green; the legs, tail, and
Gurgan. Seljuk. Early 13th c.
broken horns are yellow; and the four
W
H 4 in, 2J in; H 10 cm, W 7 cm
Collection Foroughi, Tehran
ribbons, one on each side of each bottle,
are brown.
Gurgan. Seljuk. 12th c. 681. BLUE GLASS EWER (pi064)
H 41 in, L 2| in; H 10.5 cm, L 6.5 cm Now showing iridescence. Cut design.
Archeological Museum, Tehran. 20363 Gurgan. Seljuk. Early 13th c.
H 101 in, W
6 in; H 27 cm, W 15 cm
674. LONG-NECKED, BLUE GLASS Collection Foroughi, Tehran
BOTTLE
Decorated with three threads on body, 682. SMALL BOTTLE OF TRANSPARENT
three on lower neck, and a spiral. In- GLASS (P1065)
verted foot. Now showing iridescence. Cut design.
Seljuk. About 1200.
Giu-gan. Seljuk. Early 13th c.
H 12i in, D of base 3i in; H 31 cm, D of base
H 31 in, W li in; H
8.5 cm, W 2.8 cm
8 cm Collection Foroughi, Tehran
Archeological Museum, Tehran. 3330
Illustrated
683. SMALL GOBLET OF TRANSPARENT
675. SMALL OPAQUE GLASS EWER GLASS (P1066)
WITH HANDLE (pioss) Now showing iridescence. Molded de-
Now showing iridescence. Molded dec- sign.
oration. Gurgan. Seljuk. Early 13th c.
Gurgan. Seljuk. Early 13th c. H 41 in, W
2i in; H 11 cm, W 6.3 cm
H 6i in, 2f in;D H
16.5 cm, D 6 cm Collection Foroughi, Tehran
Collection Foroughi, Tehran
684. GLASS BOTTLE
676. LONG-NECKED OPAQUE GLASS The long neck is decorated with two
BOTTLE (P1059)
black threads, joined by a zigzag of tur-
Molded honeycomb design. Now show-
quoise at the base of the neck and below
ing iridescence.
the mouth. Below two handles with sus-
Gurgan. Seljuk. Early 13th c.
pended rings runs a turquoise thread.
H 81 in, W
3f in; H 22 cm, W 9 cm The lip is rimmed in turquoise. Original-
Collection Foroughi, Tehran
ly clear, this rose-water sprinkler is now
677. LONG-NECKED BOTTLE OF a greenish-white color.
TRANSPARENT GREEN GLASS Gurgan. Seljuk. 12th c.
(pioeo) H 8i in, D of top li in, D of base If in;
Gurgan. Seljuk. Early 13th c. H 20.5 cm, D of top 3 cm, D of base 3.5 cm
H 9 in, W
41 in; H 23 cm, W 11 cm Archeological Museum, Tehran. 4511
Collection Foroughi, Tehran Illustrated

ONE HUNDRED SEVEN

 )

The Mongol and Timurid Periods. and floral design. Found in Hamadan
CA. 1225-1500
in 1908. Formerly in the Golestan Palace,
Tehran.
Iraq. Mongol, 1274.
685. PART OF A KORAN MANUSCRIPT H 145 in, W
3} in; 38 cm, H9.5 cm W
In Thulth Script. Written by the Master Archeological Museum, Tehran. 3531
Ahmad b. Suhrawardi and illuminated by bibliography:
Mohammad Ibak. Full-page illumi-
b. A. U. Pope, A Survey of Persian Art, New York,
nated frontispiece with an interlaced 1938-39, VI, pi. 1342a. G. Wiet, L'Exposition
geometric design in blue, gold, black, persane de 1931, Cairo, 1933, p. 39, no. 40, pi.
6 left; "Une nouvelle artiste de Mossoul," Syria,
and orange and two richly decorated
XII, 1931, pp. 161-62.
opening pages. Contemporary tooled Exhibited: London, 1931, no. 233b.
leather binding. Fifty-three pages.
Tabriz. Mongol. 1304 ( 704 A.H.
H 19i in, W
13J in; H
49.5 cm, 35 W cm 689. LARGE BRONZE BASIN RICHLY
Archcological Museum, Tehran. 3532 INLAID WITH SILVER
bibliogkaphy: Made by Plamud al-Mawsili. The
Ali b.
M. Bahrami and M. Bayani, Guide to an Ex- decoration contains court scenes with
hibitionof Koran Manuscripts (in Persian), many attendants, hunting scenes in large
Tehran, 1941, no. 53, figs. 9, 21. roundels, inscriptions in naskhi, braided
Exliibited: New York, 1949, no. 56, fig. 26.
Kufic, and Thulth and general surface
patterns. Found in Hamadan in 1908.
686. PART OF A KORAN MANUSCRIPT Formerly in the Golestan Palace in Teh-
In Thulth script. Written and illumi- ran.
nated by the same masters as no. 685. Iraq. Mongol. Ca.l274
Frontispiece in gold, blue, brown, and H 7J in,D of rim 17i in; H 18.8 cm, D of rim
pale green. Fifty pages. 44 cm
Tabriz. Mongol. 1304 (704 A.H.)
Archeological Museum, Tehran. 3525
H m in, W
13J in; H
49.5 cm, 35
Archcological Museum, Tehran. 3548
W cm bibliography:
A. U. Pope, A Survey of Persian Art, New York,
1938-39, VI, pi. 1341. G. Wiet, L' Exposition
bibliography:
persane de 1931, Cairo, 1933, no. 41, pi. 7, pp.
M. Bahrami and M. Bayani, Guide to an Ex-
40-41; "Une nouvelle artiste de Mossoul," Syria,
hibition Koran Manuscripts
of (in Persian),
XII, 1931, pp. 161-162.
Tehran, 1941, no. 53 figs. 9, 21.
Exliibited: London 1931, no. 233c.
Exhibited: New York, 1949, no. 56, fig. 26.

690. LARGE BRONZE TRAY RICHLY

687. PART OF A KORAN MANUSCRIPT INLAID WITH SILVER
Richly illuminated opening page. Thulth
Center medallion of geometric patterns,
script in black ink with a few red letters
surrounded by successive circles of vari-
on paper. The double first page is illu- ous patterns of animals and men.
minated with deep blue, bluish-green,
Iran or Iraq. Mongol. Second half of 13th c.
gold and white; three lines of script in H U in, W 171 in, Wt 64 oz; H 4 cm,
panels with floral motifs are placed above
and below. The sura headings are in
W 44 cm, Wt 1875 g
Archeological Museum, Tehran. 3551
dull blue and brick red. The binding
is made of black leather, tooled with
691. BRASS CANDLESTICK
touches of gold. Decorated with Thulth inscripion and
Mongol. 14th c. registers of chased decorations: ara-
H 131 in, W
lOi in; 34 cm,H 26 W cm besques, floral motifs, and inscriptions.
Archeological Museum, Tehran. 3646
Mongol. 14th c.
H 21 in, D of top 3 in, D of base 11 in;
688. BRONZE EWER RICHLY INLAID H 32 cm, D of top 7.5 cm, D of base 28 cm
WITH SILVER Archeological Museum, Tehran. 20138
Handle missing. Made for the Amir Illustrated
(Prince) Atmish al-Sa'di by Ali b.
Hamud al-Mawsili in 673/1274. The 692. PLATE WITH OVERGLAZE
rich decoration includes poly-
over-all DECORATIONS
lobed medallions with scenes of courtly The dark blue glaze is decorated with
pastimes, inscriptions in Thulth script, formal designs in white, red, and gold

ONE mmDRED EIGHT

 around a central star. On the back, pet- headings. Its binding is of tooled and
als are outlined in white on blue. Ring punched leather. The whole section con-
foot. So-called Lajvardin ware. tains twenty-one leaves.
Mongol. Early 14th c. Timm-id. 15th c.
H 2| in, D of rim 9f in, D of base 3| in; H 131 in, W
10 in; H 34 cm, 25.5 W cm
H 6 cm, D of rim 24 cm, D of base 8.5 cm Archeological Museum, Tehran. 3645
Archeological Museum, Tehran. 4205

696. MINIATURE FROM A NIZAMI

693. CERAMIC TILE WITH RELIEF MANUSCRIPT
DECORATIONS Shows Khosrow before Shirin's Garden
This tile of a larger com-
formed part Palace Pavilion. Khosrow is mounted on
position, probably part of a prayer niche
Shabdiz at the right. Shirin, with two
(mihrob) in a mosque. The naskhl in- maidens, looks down from the balcony on
scription and lotus flower of Chinese ori-
the left. There is a gold background, A
gin are in relief; the surface decorations green minaret rises to the edge of the
on the dark blue glaze are in white and page above the margins.
red. The inscription was originally cov-
Shiraz. Timurid. Middle of 15th c.
ered with leaf gold. The tile has a nar- H of painting 3i in, W of painting 44 in, Hof
row raised bottom border and a wider painting 6^ in, W of page 7i in; H of painting
top border with floral design in lower 9 cm, W of painting 11.5 cm, H of page 16.5
rehef than the calligraphy. So-called cm, W of page 18 cm
Lajvardin ware. Archeological Museum, Tehran. 4563
Mongol, Early 14th c.
Illustrated
H 14 in, W
13 in; H 35.5 cm, W 33 cm
Archeological Museum, Tehran. 3539 697. MINIATURE FROM A NIZAMI
MANUSCRIPT
694. THREE LINES OF A GIANT KORAN Shows Layla and Qais (later known as
Written in rayhani script by Prince Bay- Majnun) in school. The boys and the
songhor, son of Shah Rokh and grand- girls are instructed by separate masters.
son of Tamerlane (Timur Leng). The The simple brickwork tower on the left
script, written in black ink on paper, is
rises to a minaret.
now very brown. Other parts of this Shiraz. Timurid. Middle of 15th c.
Koran are in the Museum of the Shrine H of painting 41 in, W of painting 4f in, H of
in Meshhed, the Archeological Museum, page 6i in, Wof page 7i in; H of painting 11.5
Tehran, the Royal Library, and in Teh- cm, W of painting 11.5 cm, H of page 16 cm,
ran and Washington private collections. W of page 18 cm
The passage is from Sura 40, verses 54 Archeological Museum, Tehran. 4210
and 55, and can be translated as follows:
(. . ask forgiveness of thy sin and sing
. 698. MINIATURE FROM A NIZAMI
the praise of) "thy Lord in the evening MANUSCRIPT
and in the morning. Those who dispute Shows Majnun and Layla in a dead faint,
the revelations of God without authority, and is from the same manuscript as nos.
nothing is in their breasts but pride 696 and 699. The fine, pale quality of the
which they will never attain. So take thou painting is underlined by the gray seme
refuge in God. Verily He" ( is the Hearer, ground. Layla, on the right, wears an
the Seer!). ermine-lined, gray costume under a gold-
Khorasan (Herat). Timmid. en cloak; Majnun, is in a fine blue robe.
H 30i in, W 381 in; H 77 cm, W 98.5 cm Rose water is being sprinkled on the lady.
Archeological Museum, Tehran. 20548 Timurid. Middle of 15th c.
H of painting 4f in, W
of painting 4f in, H of
695. PART OF A KORAN MANUSCRIPT page 4i in, W
of page 7i in; H of painting
Richly decorated opening pages in lapis 11.5 cm, H of page 10.5 cm, W
of page 18 cm
lazuli gold, and colors. Thulth
blue, Archeological Museum, Tehran. 4563
script written in black ink on white pa- Illustrated
per. The first double page is very sump-
tuous in lavender with gold, brown-red, 699. MINIATURE FROM A NIZAMI
black, and three lines of white callig- MANUSCRIPT
raphy on gold. On the other pages are Shows Bahram Cur's Visit to the White
five lines of calligraphy and modest sura Pavihon. According to the story, all the

ONE HUNDRED NINE

 :

gaiments, tiles, and other furnishings are transparent colorless glaze is inspired by
white. From the same manuscript as Ming porcelain, but the motif is basically
096 and 698. Iranian in spirit.
Shiraz. Timiirid. Middle of 15th c. Kerman. Safavid. Second half 16th c.
H of painting 3J in, W
of painting 48 in, of H H 3 in, D of lip 14J in, D
of base 7J in,
page 6i in, VV of page 7i in; of painting H H 7.5 cm, D of lip 36 cm, D
of base 19 cm
9 cm, W of painting 11 cm, II of page 17.5 cm, Archeological Museum. Tehran. 3802
W of page 18 cm
Archcologicol Museum, Tehran. 4531
Exliibilcd: Rome, 1956. 705. LARGE PLATE WITH DESIGNS OF
BIRDS AND CLOUDS
This design in blue on white is a free
Persian interpretation of a Ming porce-
lain piece.
The Safax^d Period,
Meshhed. Safavid. Third quarter of 16th c.
early 16th-early 1 8th c.
H 3* in, D 18^in; H 9 cm, D 47 cm
Archeological Museum. Tehran. 3756
700. MINIATURE PAINTING: OLD MAN Illustrated
AND BOY
Drawing in black and red inks touched 706. LARGE PLATE WITH A DESIGN OF
witlideep and light blue of an old beard- FIVE ANIMALS IN A LANDSCAPE
ed man and a young boy in a landscape. This design in blue on white under a
Signed by Reza-ye Abbasi. transparent, colorless glaze is copied
Isfahan. Safavid. Early 17th c. from a Ming plate.
H of painting 5J in, W
of painting 31 in, of H Meshhed. Safavid. Ca. 1600
page 14it in, W
of page 9i in; H
of painting
H 31 in, D
18i in; 9 cm, H
47 cm D
15 cm, W of painting 8.5 cm, H of page 37 cm, Archeological Museum, Tehran. 3757
W of page 24 cm Illustrated
Archeological Museum
Tehran. 4616
Exhibited: Rome, 1956, no. 541, pi. 97
Illustrated 707. BLUE GLASS VASE WITH LONG
CURVED NECK (pim)
701. LACQUERED PEN BOX WITH Molded design.
PASTORAL AND BATTLE Late Safavid or Zand. 18th c.
SCENES. (piiii) H 14^ in, maximum, D 4| in; H 36.8 cm,
Late Safavid. Dated 1707 (1119 A.H.)
maximum D 12 cm
L 10 in, W
2 in; L 25. 3 cm, 5.2 cm W Collection Foroughi, Tehran
Collection Foroughi, Tehran
708. TOMB COVER WITH FLOWERS IN
702. LACQUERED PEN BOX WITH THE NICHE DESIGN
BATTLE SCENES (piii2) By Ghiyath. Multiple cloth enriched
Late Safavid. Beginning 18th c. with metal threads. Flowers are in deep
L 9S in, WIf in; L 24.5 cm, W 4 cm blue background.
Collection Foroughi, Tehran Yazd. Safavid. Ca.l600
H 781 in; H 235 cm
703. LARGE LACQUERED JEWELRY Archeological Museum. Tehran. 3314
BOX (P1117) BIBLIOGRAPHY
P. Ackerman, "Ghiyath, Persian Master Weav-
On the cover is a scene depicting the
er," Apollo, XVIII, 1933, pp. 252-256; "A Bio-
adoration of the Virgin Mary, while on
graphy of Ghiyath the Weaver," Bulletin of the
the rim of the cover are scenes from the American Institute for Persian Art and Archaeo-
palace life, and on the side walls of the logy, no. 7, December 1934, pp. 9-13. A. U.
box hunting scenes are shown. Pope, A Survey of Persian Art, Nevi' York, 1938-
Late Safavid. Beginning 18th c. 39, VI, pi. 1037.
H 13J in, L 181 in, W
12f in; H 33.5 cm, Exhibited: London, 1931, cat. no. 129, Sou-
L 47.2 cm, W
32.5 cm venir, pi. 76.
Collection Foroughi, Tehran
709. GOLD BROCADED SILK SATIN
704. LARGE PLATE WITH A DESIGN A floralpattern of yellow, pale blue, and
OF BIRDS AND FLOWERS white in staggered rows on a salmon
This design in blue on white under a gro 'jnd.

ONE HUNDRED TEN

 Safavid. Ca.1600 714. OIL PAINTING OF A YOUNG GIRL
Archcological Museum. Tehran. 20234 WITH A FAN. (piisi)
bibliographt:
School of Shiraz. Zand. Dated 1760.
A. U. Pope, A Survey of Persian Art, New
1939, pi. 1007b.
York,
H 501 in, W
31i; H
128 cm, 80 cm W
Collection Foroughi, Tehran
Illustrated

715. OIL PAINTING OF JOSEPH BEING

710. LARGE TEXTILE WITH FIGURE OF BLESSED BY HIS FATHER
A YOUNG MAN (P 1154)
A brocade of blue, gold, silver, and black
School of Shiraz. Zand. Dated 1760.
outlines on cream background. A pasto-
ral scene, set within a flowered niche; ex-
H 59 in, W30t in; H 150 cm, 77 cm W
Collection Foroughi, Tehran
ecuted by Sayfi.
Safavid. 17th c.
H 71f in, W 36i in; H 182 cm, W 92 cm 716. OIL PAINTING OF THE HOLY
Archeological Museum, Tehran. 3396 FAMILY (P1155)
School of Shiraz. Zand. Dated 1760.
711. GOLD BROCADE H 59 in, W
30| in; 150 cm,H 77 W cm
Collection Foroughi, Tehran
With Koranic inscription in Nasta'liq
writing. The inscription repeat, woven
in blue over a pattern of orange-outhned 716a.A WOMAN WITH JEWELRY IN
medallions, consists of the three verses of HER HAND
Sura 110: "When God's help and victory Oil painting.
cometh, and thou seest mankind enter- Qajar. 18th c.

ing the religion of Allah in troops, then H 47i in, W 52| in; H 120 cm, W 134 cm
sing the praises of thy Lord and beg for Collection Foroughi, Tehran
His pardon. Verily He is always ready
to forgive." 716b.FEMALE MUSICIAN
Safavid. 17th c. Oil painting.
H 90 in, W 27i in; H 228 cm, W 70 cm Qajar. 18th c.
Archeological Museum, Tehran. 20224 H 47i in, W 52f in; H 120 cm, W 134 cm
Exhibited: London, 1931. Collection Foroughi, Tehran

712. SILK CARPET WITH TREE DESIGN 717. OIL PAINTING OF FATH ALI SHAH
With flowers in deep red, blue, olive SURROUNDED BY HIS
green, orange, and yellow on pale gray- COURTIERS (P1156)
green background. Single border with School of Shiraz. Islamic. Beginning 19th c.
medallions. One of a set made by Ni mat H 35i in, W
Hi in; 90 cm,H 30 cm W
Allah Jowshaqani and dated 1082 A.H. Collection Foroughi, Tehran
( 1671 A.D.). Made for the mausoleum of

Shah Abbas II in Qumm. 718. OIL PAINTING OF A FEMALE

Jowshaqan Qali. Safavid. 1671 DANCER (P1152)
H 73 in, W 33i in; H 185 cm, W 86 cm School of Tehran. Qajar. Arourid 1830.
Archeological
BIBLIOGRAPHY
Museum, Tehran. 3380 H 59 in, W
32i in; H 150 cm, 82 cm W
Collection Foroughi, Tehran
The other carpets of the set, all executed with
the same general design, are illustrated in A. U.
Pope, A Survey of Persian Art, New York, 1938-
719. OIL PAINTING OF A FEMALE
39, VI, pis. 1258, 1259, 1260.
DANCER (P1153)
School of Tehran. Qajar. Around 1830.
H 59 in, W32^ in; H 150 cm, 82 cm W
Collection Foroughi, Tehran
The Zand and Qajar Periods,
mid 18th-late 19th c. 720. WATERCOLOR PORTRAIT OF A
BEARDED OFFICIAL IN COURT
713. OIL PAINTING OF A YOUNG ATTIRE
FEMALE MUSICIAN (piiso) A middle aged man in a patterned gar-
School of Shiraz. Zand. Dated 1760. ment of salmon color worn over a blue
H 59J in, W 35i
H 152 cm, in;90 W cm robe, fastened with jeweled clips. By
Collection Foroughi, Tehran Abu'l-Hasan Ghaffari, Sani al-Mulk.

ONE HUNDRED ELEVEN

 Tehran. Qajar. Mid-19th c. 725b.WOMAN WITH A WINE GLASS
W
H of painting 108 in, 51 in; H of page 18i in, Oil painting.
W 13i in; H of painting 27 cm, VV 15 cm; H Qajar. 19th c.
of page 46.5 cm, VV 35 cm
Archeolopical Museum, Tehran 4742
H 785 in, W 41 in; II 200 cm, W 104 cm
Collection Foroughi, Tehran
Illustrated

721. A WATERCOLOR OF THE KEEPER 725C.WATERCOLOR PORTRAIT

OF THE ROYAL WARDROBE Depicting Dust Ali Khan Moayyer.
Aqa Abd Elah, son of the Keeper of the Painted by Mirza-baba Hoseini.
Royal Seal, Aqa Mohammad Hasan. Pic- Qajar
ture executed by Abu'l-Hasan GhaflFari, H 91 in, W 151 in; II 25 cm, W 39 cm
Collection Foroughi, Tehran
Sani al-Mulk.
Tehran. Qajar. Mid-19th c.
Maximum H of page 13J in, W of page 8} in; 725d.WATERCOLOR PORTRAIT
Maximum H of page 33.5 cm, W of page 21 cm Depicting Ardeshir Mirza, governor of
Archeological Museum, Tehran. 4833 Tehran. Painted by Abu'l-Hasan Naq-
Illustrated qashbashi Kashani.
Qajar
722. WATERCOLOR PORTRAIT OF A H 7 J in, W Hi
in; 20 cm, H W 23 cm
ROYAL BUTLER Collection Foroughi, Tehran
Piskhedmet Gholam Hosein Khan. Exe-
cuted by Abu'l-Hasan Ghaflfari, Sani al-
Mulk.
726. SMALL GOLD KORAN BOX WITH
FLORAL DECORATION IN
Tehran. Qajar. Mid-19th
Maximum H of page 13J
c.
W of page 8i
in, in;
ENAMEL
Maximum H of page 33.5 cm, W of page 31 cm
On the top of the box is an enameled
Archeological Museum, Tehran. 4741 rose with leaves and berries in pink, rose,
Illustrated blue, and green.
Tehran. Qajar. 19th c.
723. WATERCOLOR PORTRAIT OF THE H I in, W
If in; 1 cm,H 4 cm W
ROYAL BUTLER AQA ISMAIL Archeological Museum, Tehran. 3750
By Abu'l-Hasan GhaflFari, Sani al-Mulk.
Tehran. Qajar. Mid-19th c. 727. AGATE SPOON IN GOLD
Maximum H of page 13J in, W of page 8i in; MOUNTING WITH ENAMELED
Maximum H of page 33.5 cm, W of page 21 cm DECORATION.
Archeological Museum, Tehran. 4740 Decorated with a bird in rose, green, and
blue.
724. W^\TERCOLOR PORTRAIT OF THE Tehran. Qajar. 19tli c.
ROYAL BUTLER HAJJI L 7i in; L 19 cm
MOHAMMAD BEG ABRI Archeological Museum, Tehran. 4355
By Abu'l-Hasan GhaflFari, Sani al-Mulk. Illustrated
Tehran. Qajar. Mid-19th c.
Maximum H of page 115-13J in, of page W 728. SMALL LACQUERED JEWELRY
8i in; maximum H of page 30-33.5 cm, of W BOX WITH A SILVER LOCK
page 21 cm
(P 1118)
Archeological Museum, Tehran. 4735
Gilded ornamentation and polychrome
floral medallions on black ground.
725. WATERCOLOR PORTRAIT OF THE
ROYAL BUTLER, AQA JABBAR Qajar. Beginning 19th c.

TABRIZI H 6i in, L 8i in, W

6 in; 15.5 cm, H L 21.5 cm,

By Abu'l-Hasan GhaflFari, Sani al-Mulk

W 15 cm
Collection Foroughi, Tehran
Tehran. Qajar. Mid- 19th c.
Maximum H of page 13J in, W of page 8} in;
LACQUERED PEN BOX WITH
Maximum H of page 33.5 cm, W of page 21 cm 729.
HUNTING SCENES p iii3
Archeological Museum, Tehran. 4839 ( )

Qajar. Beginning 19th c.

725a.DANCER WITH TWO DAGGERS L 9J in, W

If in; L 23.2 cm, W 4 cm
Oil painting. Collection Foroughi, Tehran

Qajar. 19th c.
H 631 in, W 37| in; H 162 cm. W 96 cm 730. LACQUERED PEN BOX (piiu)
Collection Forughi, Tehran Gilded floral motifs on black ground.

OXE HUNDRED TWELVE

 Qajar. Dated 1868 (1255 A.H.) 734. MIRROR (pii2o)
L 81 in, WU
in; L 22.3 cm, W 3.6 cm The lacquered cover is decorated with
Collection Foroughi, Tehran scenes of lovers.
Qajar. 19th c.

731. LACQUERED PEN BOX (puis)

H 7i in, W 6i in; H 20 cm, W 17 cm
Collection Foroughi, Tehran
Floral decoration on black ground.
Qajar. 1st half 19th c.

W 5.6 cm 735. MIDNIGHT-BLUE GLASS EWER

L 91 in, W
2i in; L 24.7 cm,
(p 1122)
Collection Foroughi, Tehran
Cylindrical neck and long thin spout.
Qajar. 19di c.

732. LACQUERED PEN BOX (piiie) H 7i in, W 4i

in; 18.5 cm, H W 11.5 cm
Medallions with Virgin Mary and Christ Collection Foroughi, Tehran

Child, as well as portraits; black and gold

designs on cream-colored ground. 736. MIDNIGHT-BLUE GLASS VASE ON
Qajar. 2nd half 19th c.
AFOOT (P1123)
L 9 in, W If in; L 22.7 cm, W 4 cm Qajar 19th
H W
31 in;
c.
23.8 cm, H W 9.7 cm
Collection Foroughi, Tehran 9i in,
Collection Foroughi, Tehran

733. SMALL MIRROR (piii9) 737. SILK COAT WITH FLORAL

The lacquered frame is ornamented in PATTERN
black and gold; the cover is decorated Stylized yellow, blue, and green chry-
with flowers and birds. santhemums embroidered on red ground.
Qajar. 19th c. Qajar. Late 18th or early 19th c.

H 71 in, W 6i 20 cm,
in; H W 16 cm L nape to hem 39 in; L nape to hem 99 cm
Collection Foroughi, Tehran Archeological Museum, Tehran. 4987

ONE HUNDRED THIRTEEN

ILLUSTRATIONS
13. WHITE MARBLE FIGURE. Ca. 2000-1700 B.C.

ONE HUNDRED FIFTEEN

4. HIGH COXCICAL BEAKER. Buff ware. Micl-4tl
mil. B.C.

6. POTTERY BEAKER. Buff ware. Sialk III.

ONE Hl'XDRED SIXTEEN

5. PAINTED POTTERY BOWL. Buff ware. 4th mil. B.C.

ONE HUNDRED SEVENTEEN

 12. SMALL FIGURE OF A MAN. Partly of black stone
Ca. 3()()() B.C.

^r ^^.J^h
.iH^i^
^g^r^^
^^ «;K|Hnii . .
.' -

«ii&,

IL BLACK BASALT RELIEF. .3rd mil. B.C.

ONE HUNDRED EIGHTEEN

19. SMALL GOLD BOWL. Ca. 1200-1000 B.C.

15. GOLD IBEX APPLIQUE. Ca. 2000 B.C. 32. GOLD POMEGRANATE EAR-
RING. Ca. 1200-1000 B.C.

ONE HUNDRED NINETEEN

23. LARGE GOLD BOWL. Ca. 1000 B.C.

OXE HUNDRED TWENTY

52. POTTERY TRIPLE VASE. Ca. 1200-1000 B.C.

ONE HUNDRED TWENTY-ONE

 46. SEATED POTTERY BEAR-WOMAN.
Ca. 1200-1000 B.C.

42. BRONZE STAG LEANING BACK. 41. BRONZE BULL ON FOUR WHEELS.
Ca. 1200-1000 B.C. Ca. 1200-1000 B.C.

ONE HUNDRED TWENTY-TWO

 39. BRONZE STEATOPYGOUS FEMALE FIGURE.
Ca. 1200- lOOO B.C.

'UPWK^V^

43. SMALL BRONZE GOAT. 44. CROUCHING BRONZE LEOPARD. Ca. 1200-1000 B.C.
1200-1000 B.C.

ONE HUNDRED TWENTY-THREE

 49. RED POTTERY STAG. Ca. 1200-1000 B.C.

14. ALABASTER POT. Ca. 2000 B.C.

ONE HUNDRED TWENTY-FOUR

47. POTTERY SHEEP. Ca. 1200-1000 B.C.

48. LARGE RED POTTERY STAG. Ca. 1200-1000 B.C.

ONE HUNDRED TWENTY-FIVE

22. GOLD BEAKER WITH BULLS. Early 1st mil. B.C.

ONE HUNDRED TWENTY-SIX

 55. BRONZE MACE HEAD. Ca. 1200-1000 B.C.

53. BURNISHED GRAY POTTERY VASE. Ca. 1200-1000 B.C.

ONE HUNDRED TWENTY-SEVEN

 SI. c;lohulah i^itciieh of c;hay fired c:lay.
12tli-6th c. B.C.

91. RHYTOX OF GRAYISH-BLACK FIRED WARE. 12th-6th c.

ONE HUNDRED TWENTY-EIGHT

88. RHYTON OF RED AND GRAY-BLACK
FIRED CLAY. 12th-6th c. B.C.

84. VESSEL OF GRAY-BLACK FIRED CLAY. 12th-6th c. B.C.

ONE HUNDRED TWENTY-NINE

89. RHYTON OF YELLOWISH-RED FIRED CLAY. 12th-6th c. B.C.

ONE HUNDRED THIRTY

92. RHYTON OF BRICK-RED FIRED CLAY. 12th-6th c. B.C.

ONE HUNDRED THIRTY-ONE

 It^

125. HALF-ROUND BRONZE AX. 12tli-6th c. B.C.

99. BRONZE UNICORN. 12th-6th c. B.C. 97. BRONZE BOAR. 12th-6th c. B.C.

ONE HVNDRED THIRTY-TWO

104. BRONZE HORSEMAN. 12th-6th c. B.C. 107. BRONZE STATUETTE OF A WARRIOR.
12th-6th f. B.C.

184. HALBERD-AX. 8th-7th c. B.C.

ONE HUNDRED THIRTY-THREE

135. BRONZE AX WITH SOCKET. 12th c. B.C.

136. BRONZE AX WITH SOCKET. 18th c. B.C.

ONE HUNDRED THIRTY-FOUR

 'mi

190. BRONZE AX. 8th-7th c. B.C.

203. BRONZE AX. 8th-7th c. B.C.

ONE HUNDRED THIRTY-FIVE

 366. FEMALE (?) DIVINITY.
Bronze. 8th-7th c. B.C.

381. TWO BBONZE FIGUBES. 8th-7th c. B.C.

212. BRONZE MACE. 8th-7th c. B.C.

ONE HUNDRED THIRTY-SIX

409. BRONZE BELT BUCKLE. 8th-7th c. B.C.

410. BRONZE BELT BUCKLE. 8th-7th c. B.C.

279. PINHEAD IN THE FORM OF A BRONZE

STATUETTE. 8th-7th c. B.C.

ONE HUNDRED THIRTY-SEVEN

 383. BRONZE FIGURE. 8th-7tli c. B.C.

292. BRONZE BEAKER. 8th-Tth c. B.C.

278. BRONZE FIGURE. 8th-Tth c. B.C.

ONE HUNDRED THIRTY-EIGHT

 W^.'%-
^' ^\^L»^^i

242. BRONZE PLAQUE WITH A SUSPENSION

RING. 8th-7th c. B.C.

240. NUDE BRONZE GODDESS. 8tli-7th c. B.C.

307. BRONZE BOWL WITH PLAIN RIM. 8th-7th

c. B.C.

ONE HUNDRED THIRTY-NINE

 162. BRONZE BAR BIT. 8th-7th c. B.C.

157. BRONZE BAR BIT. 8th-7th c. B.C.

ONE HUNDRED FORTY

241. BRONZE FIGURINE OF A WOMAN.
8th-7th c. B.C.

ONE HUNDRED FORTY-ONE

 422. BRONZE BELL. 12th c. B.C.

420. BRONZE ADZ. 12th c. B.C.

ONE HUNDRED FORTY-TWO

418. BRONZE AX. Late
!
2.nd-early 1st mil. B.C.

421. BRONZE AX. 11th c. B.C.

ONE HUNDRED FORTY-THREE

423. GOLD AND CARNELIAN NECKLACE. 1000 B.C.

ONE HUNDRED FORTY-FOUR

 "™T|

M
IBp^^^^BH^^^^

nM ^^^
w^i
^PB
436.
w*
GOLD PROTOMA OF A LION. 7th c. B.C. 435. GOLD PROTOMA OF A GRIFFIN.
7th c. B.C.

427. GOLD PECTORAL. 7th c. B.C.

ONE HUNDRED FORTY-FIVE

 ^"^,

4.34. HEAVY COLD BRACELET. 7th c. B.C.

430. SMALL GOLD IBEX APPLIQUfi.

8th c. B.C.

437. SMALL GOLD FUWEL. 8th c. B.C. 428. GOLD PLAQUE, (detail) 7th c. B.C.

ONE HUNDRED FORTY-SIX

424. BRONZE CUP OR SITULA IN FORM OF RAM'S HEAD.
Late 8th-7th c. B.C.

ONE HUNDRED FORTY-SEVEN

457. NECKLACE WITH COLD MEDALLIONS. 5th c. B.C.

456. GOLD APPLIQUE. Achaemenid.

ONE HUNDRED FORTY-EIGHT

454. SMALL GOLD MOUNTAIN-GOAT HEAD. 462. GOLD BULL. Achaemenid?
Achaemenid.

455. GOLD APPLIQUfi. Achaemenid.

ONE HUNDRED FORTY-NINE

444. BRONZE MOUNTAIN GOAT.
Achacincnid or earlier.

446. SILVER VASE. Achaemenid

461. SMALL BRONZE LION. Achaemenid.

ONE HUNDRED FIFTY

451. GOLD CUP OR SITULA WITH GAZELLE HEAD. Achaemenid.

452. GOLD WHETSTONE HANDLE. Achaemenid.

ONE HUNDRED FIFTY-ONE

 450. SIL\'ER OPE\\\'ORK DISH. Acluu-menid.

458. LIOX PROTOMA OF EGYPTIAN' BLUE. Acliaenunid. 447. SIL\'ER HANDLE. Achaemenid.

ONE HUNDRED FIFTY-TWO

 ""•^py

484. SILVER PLATE. 3d c.

469. BRONZE STATUETTE. lst-3rd c. 471. BRONZE GENIE. lst-3rd c.

ONE HUNDRED FIFTY -THREE

 ISS. SUA i:i{ l"()HK Willi iWO riNKS. (ill. -Till V.

473. SMALL GOLD ORNAMENT.

lst-3rd c. B.C.

47.5. GLAZED POTTERY BOWL. lst-3rd c.

ONE HUNDRED FIFTY-FOUR

 468. WHITE MARBLE HEAD. lst-3rd c.
470. FOUR MOTHER-OF-PEARL FIGURE
INLAYS. lst-3rcl c.

472. BRONZE HANDLE. Lst-3d c.

ONE HUNDRED FIFTY-FIVE

502. SIL\ER PERFUNfE BURNER. Sasanian.

514. THICK GLASS BOWL. 7th c. 500. SILVER PLATE. 6th-7th c.

ONE HUNDRED FIFTY-SIX

 529. FLUTED BRONZE EWER. 8th-9th c.

*y I

iMliMiilii Ill liliiiiMiim I I" iiiiiiti

527. KORAN MANUSCRIPT IN KUFIC SCRIPT ON PARCHMENT. 9th c.

ONE HUNDRED FIFTY-SEVEN

 588. C;LAZED pottery bowl. lOth

573. GLAZED POTTERY BOWL. 10th c.

ONE HUNDRED FIPTY-EIGHT

589. SMALL GLAZED POTTERY BOWL. 10th

577. SMALL GLAZED POTTERY BOWL. 10th c.

ONE HUNDRED FIFTY-NINE

602. BOAT-SHAPED GLASS, 9th- 10th

ONE HUNDRED SIXTY

1^

612. GOLD PENDANT. 11th c.

611. SILVER DISH. lOth-llth c.

ONE HUNDRED SIXTY-ONE

 592. GLAZED POTTERY BOWL. lOtli c.

603. GLOBULAR BLUE GLASS BOTTLE WITH SILVER

TOP. 9th-10th c.

ONE HUNDRED SIXTY-TWO

544. GLAZED POTTERY BOWL. 10th c.

604. GLOBULAR DARK-GREEN GLASS BOTTLE.

8th-9th c.

ONE HUNDRED SIXTY -THREE

 565. GLAZED POTTERY PI'ICIIER \\'ITH HAXDLE. lOtli. c

574. GLAZED POTTERY BOWL. lOtli c.

OXE HUNDRED SIXTY-FOUR

 608. DARK-GREEN BOTTLE. 9th-l()tl. c.

601. GLAZED POTTERY PLATE. lOtli-llth c.

ONE HUNDRED SIXTi'-FIVE

 ^^i^/ :3t3J^^
563. LARGE POTTERY BOWL. 10th c.

605. BLUE GLASS BOTTLE. 9th-10th c. 606. BLUE GLASS BOTTLE. 9th-10th

ONE HUNDRED SIXTY-SIX

645. BLUE POTTERY ELEPHANT. Early 13th c.

ONE HUNDRED SIXTY-SEVEN

 625. BRONZE BUCKET. 12th c.

627. HEMISPHERICAL BRONZE BOWL. Early IStli c.

ONE HUNDRED SIXTY-EIGHT

626. HEAVY BRONZE MORTAR. 12tli c.

ONE HUNDRED SIXTY-NINE

617. NECKLACE OF EIGHTY-NINE ELEMENTS. GOLD, SILVER, JADE, ETC. 12th c.

OXE HUNDRED SE\T;NTY

 616. GOLD SWORD POMMEL. 11th

620. GOLD RING. 12th c. 618. GOLD EARRING. 12th c.

ONE HUNDRED SEVENTY-ONE

 684. GLASS BOTTLE. 12th

674. LONG-NECKED, BLUE GLASS BOT'I LE.

Ca. 1200.

ONK HUNDRED SEVENTY-T%\0

655. DOUBLE-WALLED EWER WITH A RETICULATED OUTER WALL. Earlv 13th c.

ONE HUNDRED SEVENTY-THREE

 647. DEEP POTTERY BOWL. Early 1.3th c.

632. POTTERY PITCHER, lltli c.

ONE HUNDRED SEVENTY-FOUR

621. BRONZE INCENSE BURNER IN THE SHAPE OF A BIRD. Late 11th c.

623. SIX-SIDED BRONZE INCENSE BURNER. 12th c.

ONE HUNDRED SEVENTY-FIVE

Wo. LARGE PLATE WITH A DESIGN OF BIRDS AND CLOUDS. Third (luartcr Ifith c.

ONE HUNDRED SEVENTY-SIX

706. LARGE PLATE WITH A DESIGN OF FIVE ANIMALS IN A LANDSCAPE. Ca. 1600.

ONE HUNDRED SEVENTY-SEVEN

 691. BRASS CANDLESTICK. 14th c.

727. AGATE SPOON IN GOLD MOUNTING WITH ENAMELED DECORATION. 19th c.

ONE HUNDRED SEVENTY-EIGHT

709. GOLD BROCADE. Ca. 1600.

ONE HUNDRED SEVENTY-NINE

698. MINIATURE FROM A NIZAMI MANUSCRIPT. Middle of L5tli c.

ONE HUNDRED EIGHTY

 700. MINIATURE PAINTING: OLD MAN AND BOY.
By Reza-ye Abbasi. Early 17th c.

696. MINIATURE FROM A NIZAMI MANUSCRIPT. Middle of 15th c.

ONE HUNDRED EIGHTY-ONE

 720. WATERCOLOR PORTRAIT OF A BEARDED OFFICIAL. By Abu'l-Hassan
Ghaffari, Sani al-Mulk. Mid-19th c.

ONE HUNDRED EIGHTY-TWO

 iJ^r

722. WATERCOLOR PORTRAIT OF THE ROYAL BUTLER. Bv Abu'l-Hasan Ghattari,

Sani al-Mulk. Mid-19th c.

ONE HUNDRED EIGHTY-THREE

RITT
BAl.- ,- WALLACE COLLEGE
 Smithsonian Pnlilication No. 4535

Color plates on pages 19-22, 39-44 by the Benrido

Company, Kyoto, courtesy of Asahi Press, Tokyo.

H. K. Press
WASHINGTON
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