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   Brass ewer with silver inlay
Brass ewer with silver inlayLarger image
Brass ewer with silver inlay
Brass ewer with silver inlay
Brass ewer with silver inlay
Brass ewer with silver inlay
Brass ewer with silver inlay
  Larger image
© 2006 The British Museum

AD 1232

Made in Mosul, Iraq

Known as the ‘Blacas Ewer’ after a previous owner, the Duc de Blacas, this is a most important piece of Mosul metalwork. It bears an inscription stating that it was made there, the date and the name of the maker, Shuja ibn Mana, one of the best inlayers in Mosul. It is decorated with silver and copper inlay of exceptional quality in the form of animated script - figures which spell out letters.

The British Museum Asia 1866,1229.61
The Umayyads
The Umayyads
The Abbasids
The Abbasids
The Seljuks
The Seljuks
The Zengids
The Zengids

The_KwarazamShahs
The_KwarazamShahs
The Crusades
The Crusades
The Zengids

The Zengid dynasty (reigned AD 1127-1251) was of Turkish origin. They began as regents (atabegs) of the Seljuks in the Jazira (northern Iraq) and Syria. As the Seljuk empire weakened, the atabegs grew in power and claimed the regions they governed as their own.

Under Zengid rule an influential type of inlaid metalwork was developed. There was a serious shortage of silver in the Islamic world in the 11th century, caused by Viking traders in Russia who hoarded the Islamic silver coins with which they were paid. This meant that less valuable metals such as brass were therefore used to make everyday utensils. Their value was greatly enhanced by the practice of inlay – hammering strips of precious metals into the surface.

The Zengid capital Mosul, a prosperous city on the banks of the River Tigris in north Iraq, was the most important centre for the new inlay technique. The Zengid ruler, Badr al-Din Lulu (reigned 1210-59), brought stability to the city and actively supported the inlaid metalwork industry in his capital. Many vessels bearing his name and titles survive. The metalwork products of Mosul were exported and given as gifts to princes and foreigners. The demand for inlaid brass led Mosul metalworkers to set up workshops abroad, and the technique and Mosul style of decoration soon spread to Syria, Egypt, west Iran and Anatolia.

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© 2005 The British Museum