The exhibition is made possible by the NoRuz at The Met Fund and the Iranian-American Community.
Approximately 270 objects—including ceramics, glass, stucco, works on paper, woodwork, textiles, and metalwork—from American, European, and Middle Eastern public and private collections are shown. Many of the institutions have never lent works from their collections before. Among the highlights are a dozen important loans from Turkmenistan—the exhibition marks the first time that Turkmenistan as an independent country has permitted an extended loan of a group of historical objects to a museum in the United States.
Under the Great Seljuqs of Iran, the middle class prospered, spurring arts patronage, technological advancements, and a market for luxury goods. In contrast, in Anatolia, Syria, and the Jazira (northwestern Iraq, northeastern Syria, and southeastern Turkey)—which were controlled by the Seljuq successor dynasties (Rum Seljuqs, Artuqids, and Zangids)—art was produced under royal patronage, and Islamic iconography was introduced to a predominantly Christian area.
Furthermore, a number of artists had immigrated to the region from Iran in response to the Mongol conquest in 1220. Because patrons, consumers, and artists came from diverse cultural, religious, and artistic backgrounds, distinctive arts were produced and flourished in the western parts of the Seljuq realm.
Exhibition Overview
Arranged thematically, the exhibition opens with a display of artifacts that name the Seljuq sultans and members of the ruling elite. In Central Asia and Iran, inscriptions appeared on coins and architecture. Stucco reliefs representing royal guards, amirs, and courtiers serve to evoke the courts of the Great Seljuq rulers whose names did not appear on objects. In Anatolia, Syria, and the Jazira, names of Seljuq successor rulers and images appeared on a range of objects. Here, the famous 12th-century cloisonné dish bearing the name of Rukn al-Dawla Dawud, a leader of the Artuqids, is featured.
In the second section, the courtly environment and activities associated with the sultans and their courtiers appear on stucco reliefs, ceramics, metalwork, and other media. While depictions of the Seljuq elite on these works were not intended as actual portraits, the distinctive Central Asian facial type was a standard of beauty under Seljuq rule. The earliest extant manuscript of the Shahnama (Book of Kings)—the Persian national epic—created in Anatolia in 1217 is a highlight of this section. Additionally, the remarkable Blacas ewer, with its myriad details of life connected to the court, is prominently exhibited.
The three centuries under Seljuq rule were also a period of inventions; and the many advances in science, medicine, and technology were reflected in the manuscripts, scientific instruments, and medical implements of the time. Pages from the early 13th-century illustrated manuscript The Book of Knowledge of Ingenious Mechanical Devices feature some of the fanciful inventions of the Muslim polymath and creative genius Ibn al-Razzaz al-Jazari, whose inventions ranged from clocks and water wheels to automata (robots). Also noteworthy is an early Islamic astrolabe. (Among the many things that could be determined by means of this complex navigational instrument was the direction of Mecca, and hence the direction of prayer.) Also on view is an intricate pharmacy box with separate compartments for musk, camphor, and other ingredients typical of the medieval pharmacopoeia.
Seljuq art abounds with depictions of real, mythological, and hybrid animals on objects large and small. Animal combat was a favorite theme in Iranian art. The double-headed eagle was adopted as the standard of the Seljuq successor states in Anatolia and the Jazira. Harpies (composite creatures having the body of a bird and the face of a human) and sphinxes (beasts with the body of a lion, face of a human, and occasionally the wings of a bird) appear frequently. The exquisite Vaso Vescovali—a lidded bowl engraved and inlaid with silver and decorated with complex astrological imagery—features eight personifications of planets on the lid along with the 12 signs of the zodiac and their associated planets on the base, within a profusion of other ornamentation.
The Seljuqs actively promoted Sunni Islam throughout their territory, building madrasas and mosques, and sponsoring the production of Qur’ans and other religious texts. A number of rare and beautifully ornamented examples of the book arts from the time of the Seljuqs are on view. In Syria, the Jazira, and Anatolia—where the majority of the local population, including some of the ruling elite, was Christian—artifacts bearing Christian iconography continued to be made. And a ritual vessel from Georgia, with a Hebrew inscription, attests to the presence of Jewish populations as well. The same artists often served various religious communities. Hence, the styles and artistic traditions of one group merged with those of another.
The sixth and final section of the exhibition focuses on the funerary arts. A variety of tomb markers, cenotaphs, funerary furniture, and patterned textiles discovered in Seljuq tombs are shown. In a proper Muslim burial, the deceased is wrapped in two or three sheets of plain white cloth; the presence of expensive textiles in a funerary context indicates that popular customs and official practice differed significantly.
The Great Age of the Seljuqs - A Conversation with Deniz Beyazit from Visual & Critical Studies on Vimeo.
The Great Age of Seljuks shown at Met Museum
One of the most productive periods in the history of the region from Iran to Anatolia in modern Turkey corresponds to the rule of the Seljuks and their immediate successors, from 1038 to 1307.
New York’s Metropolitan Museum of Art is hosting a landmark international loan exhibition titled “Court and Cosmos: The Great Age of the Seljuks” featuring spectacular works of art created in the 11th through 13th century from Turkmenistan to the Mediterranean.
Curated by Sheila Canby, Deniz Beyazıt, and Martina Rugiadi, approximately 270 objects, including ceramics, glass, stucco, works on paper, woodwork, textiles and metalwork from American, European and Middle Eastern public and private collections are shown in the exhibition. Many of the institutions had never lent works from their collections before.
Among the highlights are a dozen important loans from Turkmenistan, as the exhibition marks the first time that Turkmenistan as an independent country has permitted an extended loan of a group of historical objects to a museum in the U.S.
Arranged thematically, the exhibition opens with a display of artifacts that name the Seljuk sultans and members of the ruling elite. In Central Asia and Iran, inscriptions appeared on coins and architecture. Stucco reliefs representing royal guards, emirs, and courtiers serve to evoke the courts of the Seljuk rulers whose names did not appear on objects.
In Anatolia and Syria, the names of Seljuk successor rulers and images appeared on a range of objects. Here, the famous 12th-century cloisonné dish bearing the name of Rukn al-Dawla Dawud, a leader of the Artuqids, is featured.
In another section, the courtly environment and activities associated with the sultans and their courtiers appear on stucco reliefs, ceramics, metalwork and other objects.
The earliest extant manuscript of “The Shahnama” (The Book of Kings), the Persian national epic, created in Anatolia in 1217 is a highlight of the section.
The Seljuks actively promoted Sunni Islam throughout their territory, building madrasas and mosques and sponsoring the production of Qurans and other religious texts.
A number of rare and beautifully ornamented examples of book art from the time of the Seljuks are on view in the exhibition. In Syria and Anatolia, where the majority of the local population, including some of the ruling elite, was Christian, artifacts bearing Christian iconography continued to be made. And a ritual vessel from Georgia, with a Hebrew inscription, attests to the presence of Jewish populations as well.
The same artists often served various religious communities. Hence, the styles and artistic traditions of one group merged with those of another.
The final section of the exhibition focuses on the funerary arts. A variety of tomb markers, cenotaphs, funerary furniture and patterned textiles discovered in Seljuk tombs are shown. In a proper Muslim burial, the deceased is wrapped in two or three sheets of plain white cloth; the presence of expensive textiles in a funerary context indicates that popular customs and official practice differed significantly.
A projection of photographs of Seljuk architecture and landscapes by Henri Stierlin is also visible throughout the exhibition. Historical views of the domes of the Great Mosque at Isfahan, a UNESCO World Heritage Site, are projected on the ceiling of one area.
The exhibition will run through July 24 at the Iris and B. Gerald Cantor Exhibition Hall
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