IRAN AND THE WORLD IN THE SAFAVID AGE
Abstracts 

Crowe, Dr. Yolande, Independent Scholar, Geneva, The Safavid Potter at the Crossroads of Styles

The geographical position of Persia could be compared to a door, swinging open at the same time towards western Asia and the Central Steppes of Asia, as well as towards the Indian subcontinent and lands farther to the east.  The historical period of Modern Times starts conveniently with the birth of the Safavid dynasty.  For Europe this meant the discoveries of new worlds and for Persia the establishment of the longest dynastic rule in its Islamic history and enlarged relations both to the east and to the west during a well defined period of time (1501-1722).  Two decades later Babur (d. 1530) drove his armies into the northern plains of India and founded the Mughal dynasty at a time when Suleiman Kanuni was unsuccessfully besieging Vienna (1529).

Apart from two chapters in Arthur Lane's Later Islamic Pottery published in 1957, the study of Safavid Persian ceramics has been seriously neglected.  This year by publishing Persia and China, Safavid Blue and White Ceramics in the Victoria & Albert Museum I have attempted to establish a chronology and typology for this period.  The production of ceramics in Persia during the sixteenth century prolonged the International Timurid style but in the Museum is represented by only eight pieces, while most of the collection, covering the seventeenth and early eighteenth centuries, is vast and diverse, and requires careful study to evaluate foreign influences, changing patterns and original ideas.

A comprehensive understanding of Chinese and Japanese export porcelain became essential in order to analyze numerous decorative themes.  By concentrating on the sea traffic in the hands of the Dutch East India Company (VOC), the EIC and seafaring Asian traders, as well as on ceramics from important dated wrecks salvaged during the last thirty years, it has been possible to trace the influence of Chinese and later Japanese styles of decoration on Persian ceramics.  Some motifs and shapes were also inspired by Portuguese and Dutch models.  In the mid-seventeenth century Persian production was used to fill the gap when Chinese production ceased during the transition to the Qing dynasty.  Yet the Persian potter never slavishly imitated models from abroad; he always interpreted foreign models in his own way. Finally, the discovery of Chinese and Japanese high-fired wares as well as Persian ceramics during archaeological work in the Port of London indicates that Persian ceramics were imported privately into Europe during this period.

  
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