Search Results (5)

Mīnā’ī wares, crafted during the 12th–13th centuries, represent some of the earliest examples of sophisticated painted enamel decoration by potters. Due to the thinness of these enamel layers, their detailed characterization remains challenging, even with the use of advanced techniques, such as Proton-Induced X-ray Emission (PIXE) analysis and Rutherford Backscattering Spectrometry (RBS). This study provides the first combined non-invasive analysis, using X-ray fluorescence (XRF) and Raman spectroscopy, of five shards attributed to mīnā’ī wares. For comparison, two İznik shards from the 17th century, which feature similarly styled but thicker enamel decorations, were also analyzed. Interestingly, the mīnā’ī paste was found to contain lead and tin, suggesting the use of a lead-rich frit in its composition. This finding was confirmed through micro-destructive analysis, using Scanning Electron Microscopy with Energy Dispersive Spectroscopy (SEM–EDS). Elements, such as rubidium (Rb), strontium (Sr), yttrium (Y), and zirconium (Zr), produced significant XRF signals and effectively distinguished mīnā’ī wares from İznik wares. A uniform tin-rich glaze, measuring 300–500 µm in thickness, was used as a base layer for the much thinner painted mīnā’ī enamels. The colored areas (blue, turquoise, red, green, black, white, eggplant) revealed the presence of various coloring agents and phases, such as spinels, chromite, and ions like Cu²⁺ and Co²⁺, as well as opacifiers like cassiterite and lead–calcium/potassium arsenates. Two distinct cobalt sources were identified: one associated with arsenic and the other with manganese and nickel. These cobalt sources are comparable to those used in İznik pottery. For the first time, boron was detected in the blue enamel of mīnā’ī wares. Full article

Raw materials significantly determine the final composition and properties of a fired ceramic. Raman analysis which characterizes micro- and nanostructures of (coloured) glazes, opacified or not, was applied to shards mostly collected before the 1960s, currently at the Louvre Museum, originated in Anatolia, the Caucasus, Iran and Central Asia, which are, for most of them, characterized by the use of black lines to separate coloured areas, and dated to the period between the 12th and 19th centuries. Measurements were carried out in the laboratory with a blue laser excitation and/or on the conservation site with a mobile device (green laser). Three types of glazes were identified by their nanostructure of the silicate network: (i) a lead-rich glaze analogous to that of Byzantine, Zirid to Hafsid and al-Andalus productions, (ii) a lead-alkali glaze typical of the Ottoman productions of Iznik-Kütahya, and (iii) a mixed (poor lead/lead-free)-alkali glaze typical of Safavid productions. The colour determines the precise composition of the glaze. The identification is not only based on the signature of the stretching mode of the SiO₄ tetrahedron (position of the wavenumber of the component(s)) but also on the position and shape of the continuous luminescence of the Raman background, characteristic of the raw materials used. Lead-tin yellow, Fe-rich, Mn-rich and Cr-rich black pigments and opacifiers made of cassiterite and wollastonite were also identified. The results (type of glaze and deduced processing temperature) were discussed in the light of the ternary phase diagrams visualizing elemental composition determined in previous works and the microstructure examination on the polished section (defining single or multistep firing cycles). Continuity was highlighted on the one hand between the tiles of Bursa, Edirne and Istanbul (Ottoman Iznik-like production) and on the other hand between those of Samarkand area (Timurid) and Iran. The procedure was then applied in the study of three objects (two dishes and a bowl) which are very representative of the productions of the Turkish-Persian cultural areas: a polychrome mina’i cup with decoration representing a rider, an Ottoman Iznik fritware with polychrome floral decoration, and a blue-and-white Safavid ceramic with a decoration representing a shrub. Full article

This study attempts to take aspects of pottery technology into account while concentrating on the blue pigment and glaze recipes of various kinds of glazed pottery types; that is to say, Iznik ware, Kütahya ware, Miletus ware, glazed fritware, porcelain, polychrome glazed ware, and monochrome glazed ware were collected from a rescue excavation site within the Castle of Mytilene in Lesvos Island, Greece. The decoration, surface treatment, and production technology were investigated on the basis of 23 ceramic fragments that can be dated to the Turkish/Venetian period. The present study concerns the manufacture of glazed pottery, and in particular, colour recipes and issues of glaze technology. This study endeavoured to look into the specifics of the medieval colour recipes used on the glazed ceramics from Mytilene. This was accomplished by using an analytical process that took into account the compositional information of blue pigments, glazes, and slip coatings. The chemical analysis was conducted using scanning electron microscopy (SEM-EDS), Raman spectroscopy provided information about the compositional variation, and the optical examination via optical microscopy (OM) and scanning electron microscopy (SEM-EDS) yielded information about the sample stratigraphy of the examined ceramic sections. This investigation into glazed ceramics was able to define and reflect the key aspects of each society’s perception of colour through a large variety of colour and glaze recipes. Full article

Mina’i ceramics dating to the late 12th and early 13th century made in the Kashan region of Iran represent a novel period of overglaze enamelling technology in ceramic history. New colours were used to produce stylistically attractive and dynamic polychrome motifs. Due to their archaeological context, and popularity in the art market since the mid-20th century, these objects often have complex conditions involving reconstruction and overpainting. The aesthetic and technological significance of these pieces warrants further study, but in practice, removing restorations can lead to structural destabilisation, requiring time-consuming and potentially unplanned for conservation treatment. To determine if it is possible to gain useful information from the study of these artworks without disturbing existing restorations, a group of objects were drawn from the Sarikhani and Ashmolean Museum of Art and Archaeology collections. The objective of this project was twofold, first to assess the merits of the imaging techniques for understanding condition, and second to propose a protocol for imaging with the aim of encouraging collaborative projects with international partners. The techniques used in this study include digital photography under visible and ultraviolet light, infrared reflectography, and radiography. The results show that important information invisible to the naked eye can be obtained about the decorative surfaces, using ultraviolet light and infrared reflectography. Digital radiography proved to be equally effective when studying the condition of the ceramic body. The results of this project were used to produce guidance on these techniques as a collaborative documentation package for the study of Mina’i ceramics. Full article

This article is devoted to the analysis of Iranian art ceramics from the monuments of the Volga Bulgaria of the 12th to early 13th centuries. As a historical source, glazed ceramics have great opportunities in determining the directions of trade and cultural links, as well as priorities of intercultural interaction. It is especially important that the materials under consideration were obtained as a result of excavations, which means that they are stratified and provided with an archaeological context. Iranian ceramics are represented by fritware luster, mina’i, and pierced decoration. The study was carried out using morphological and stylistic methods and scanning electron microscopy method (SEM-EDS). Based on the results of the work, the technological characteristics of glazed ceramics, the stability of the craft tradition, and some changes in recipes within the same morphological group have been determined. The dynamics and chronology of the import flow from Iran to the Middle Volga are established, which revealed correspondence to the main stages of urban culture development of the Volga Bulgaria. Full article