Material Object

My primary artifact is a large, detailed jug-like object. It is sitting on a cylinder base, with a long neck, and a spout on top. There is a large handle connecting the spout to the base. It is covered with a twisting ornamental design from top to bottom. There is Arabic inscriptions on the neck, base, and handle of the object, which reads a prayer of protection and prosperity for the owner (The Metropolitan Museum of Art). Along the base of the ewer there is a lion-like depiction, which is bordered by a medallion design. There are raised designs running along the bottom and top of the body, as well as on the spout. Along the basin of the ewer, there are twisting ornamental designs which reach to a rabbits’ head on the top of the ewer (The Metropolitan Museum of Art). As the Metropolitan Museum notes, each zodiac sign appears in conjunction with its ruling planet along the body of the jug. It is made of brass and stands 40 centimeters tall (The Metropolitan Museum of Art). It appears to be in good shape, with no visible signs of cracking or wearing.

This ewer is dated ca. 1180-1210, and is credited to Iran or Afghanistan (The Metropolitan Museum of Art). As noted by the Metropolitan Museum, this ewer in particular is ordained with crowned harpies, and has many inscriptions of astrological imagery, which “heightens the auspiciousness of its ornament” (The Metropolitan Museum of Art). It is clear this is a well-decorated and significant object, and I argue that the detail and precision of this ewer signifies it was most likely used by a ruler, or other elites within a court. According to Rubin Museum, ewers were used for pouring liquids, and were often used during offerings, rituals, and ceremonies. Ewers were more often used as decorative or aesthetics pieces, rather than an actual drinking device (Rubin Museum). The crafting of ewers flourished in Iran specifically, and were frequently used to decorate the palaces of kings (Museum with No Frontiers).

This object contributes to the understanding of King Zahhak as a monster as it highlights the importance of mysticism, specifically astrology, within the lives of individuals in this era, and particularly for those in power. While astrology was an important guiding ideology for individuals living in Medieval Persia, Firdawsī highlights the “other side” of astrology, the side that can be harnessed to bring darkness into the world.

My two other supporting objects also focus on the theme of medieval Middle Eastern mysticism. My second object shows the art of preparing medicine from honey, ca. 1224. In the centre of this manuscript is a depiction of two men creating a concoction in a pot under a flame. In the top left and right corners, there is a drawing of two men ladling the mixture into cups. In the middle sits six jug-like objects. The entire drawing is outlined by a red border, and Arabic text is found around the drawing. The Arabic text instructs the reader to mix honey, tears and beeswax in order to fix ailments (The Metropolitan Museum of Art). Similarly, this manuscript highlights the reliance on magical properties during this era, rather than solely religious ones. The medicinal treatment portrayed in this manuscript may have been very similar to what Firdawsī employed Zahhak’s character to do when attempting to kill his shoulder snakes.