Two Rare Early Abbasid Paint-Decorated Ceramic Bowls from el-Khirba/Nes Ziyyona, Israel

2018 ◽  
Vol 35 (1) ◽  
pp. 273-280
Author(s):  
Itamar Taxel ◽  
Ayala Lester ◽  
Uzi ʿAd

Abstract This article discusses two near-complete ceramic vessels—a deep, cup-shaped bowl and a shallow bowl/plate—found in recent excavations carried out at the rural site of el-Khirba/Nes Ziyyona in central Israel, in an early Abbasid context dated to the ninth century. The vessels bear unusual painted decorations on their exterior and interior. The decoration of the first bowl consists of alternating pairs of large black and white palm trees and large birds. The second bowl/plate is decorated with eight stylized trees emerging from a central circle, with small circles between them; these motifs were drawn in black over a white-painted surface. These bowls are associated with a local fine ware ceramic group, known as Fine Byzantine (or Fine Islamic) Ware, which originated in the Jerusalem region. However, their decorations reflect stylistic traditions familiar across the Early Islamic Near East and beyond, including from statuary works, illustrated manuscripts, and other ceramics. Altogether, it can be suggested that rural elites in Early Islamic Palestine used luxury ceramics decorated with pan-Islamic patterns as a way of identifying themselves with cosmopolitan, pan-Islamic society.

2004 ◽  
Vol 1 (2) ◽  
pp. 277-295 ◽  
Author(s):  
Emi Goto

Though veiling by Muslim women has been discussed from many angles and with various methodologies, the very basis of the discussion – the relationship between the Qur'a¯n and the veil – still remains unclear. This paper returns to this basis, focusing on three relevant passages from the Qur'a¯n (33:59, 33:53, 24:31). An analysis of the first two of these passages in association with a number of prophetic traditions [hadi¯th] shows clearly that one of the main purposes of veiling in early Islamic society was to distinguish, and secure the safety or status of, privileged women. Problematic is Verse 24:31, which contains another reason for veiling in Islam: to cover women's beauty. Because of the ambiguity of the words contained in this passage, and the absence of any solid hadi¯th concerning it, ample room for interpretation was provided for later religious authorities. The extent of covering changed over time and so did the grounds for argument. By following major exegetic texts [tafsi¯r] on this verse from the ninth to the fourteenth centuries, this paper shows the relationship between the Qur'a¯n, hadi¯th, tafsi¯r, and the veil.


2012 ◽  
Vol 31 ◽  
pp. 235-261 ◽  
Author(s):  
Lisa Nielson

Until the ninth century, the role of the professional musician in pre-Islamic Arabia and Mesopotamia was primarily fulfilled by women. Men were socially prohibited from working as musicians, though some transgressed gender and social boundaries by adopting feminine dress and playing ‘women's’ instruments. With the advent of Islam, patronage of qiyān (singing girls), mukhannathūn (effeminates) and later, male musicians, did not substantially change. During the early Abbasid era (750–950 ce), however, their collective visibility in court entertainments was among several factors leading to debates regarding the legal position of music in Islam. The arguments for and against took place in the realm of politics and interpretation of religious law yet the influence of traditional expectations for gendered musical performance that had existed on the cultural landscape for millennia also contributed to the formation of a musical semiotics used by both sides.In this article, I examine the representation of musicians in the early Islamic court in Baghdad from the perspective of select ninth-century Arabic texts. First, I begin with a summary of the gender roles and performance expectations for pre-Islamic court musicians and point to their continuation into the early Islamic courts. Then, I suggest how the figure of the musician became a key referent in the development of a musical semiotics used in medieval Islamic music discourse.


1997 ◽  
Vol 117 (4) ◽  
pp. 770
Author(s):  
Nadia Maria El Cheikh ◽  
Averil Cameron
Keyword(s):  

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