Collection Highlight: A Timeless Vase from Damascus

Mediaeval vases are typically recognisable as decorative, hand-glazed glass pieces in various colours, usually bearing intricate designs and artistic inscriptions that express the culture, arts and traditions of the period. The 'Cavour' vase, in particular, shows these characteristic elements of Mamluk art and combines traditional Islamic motifs with artistic influences of the time.

Provenance

Although it is believed to have been brought to France from the Holy Land by a member of the noble d’Allinges family, the vase takes its current name from its nineteenth-century owner, Camillo Paolo Filippo Giulio Benso (Count of Cavour), historically remembered as Italy’s first Prime Minister, a position he held for only a few months before his death in 1861 CE. Upon Cavour’s death, the vase passed to his niece Giuseppina Benso di Cavour and her husband, Italian politician Marchese Carlo Alfieri di Sostegno, who exhibited the vase in Florence in 1878 CE before later bequeathing it to Queen Margaret of Italy (1879–1900 CE), where it reportedly remained in the royal family of Savoia for generations. In the late 1980s CE, the vase appeared on the art market in London, where, in 1988, it was acquired by the Museum of Islamic Art from the glass dealer Christopher Sheppard.

Craftsmanship

Created in the mid-8th century AH (mid-14th century CE), this piece carries a rich history of Islamic culture, art and heritage and embodies the fine artistic and craftsmanship skills that were available during the Mamluk period, which reflect creativity and innovation in glass art. A major technical innovation at the time allowed artists to fuse coloured vitreous enamels into a glass vessel with a low melting point. To do this, glassblowers created very thick pot walls to slow the heating process, which gave the enamel enough time to develop rich, vibrant colours. The opaque blue of the vase's body conceals its walls' thickness. European glassmakers greatly admired this technique, inspiring later glass production in Venice, Italy.

Made of blown cobalt blue glass, this pear-shaped vase — with a cylindrical neck flaring to a rounded thickened rim and resting on a low splayed foot — is painted with polychrome enamel and gilt decoration consisting of horizontal rows of vegetal motifs, calligraphy and birds.

Inscriptions and Decorations

The elegant naskhi script encircling the neck translates as:

"Glory to our Lord the King, the holy soldier, the defender, sultan of Islam and the Muslims, tamer of unbelievers, possessor of justice in the world."

The verse around the middle of the body reads:

“Glory to our lord the sultan, the king, the learned, the doer, the holy soldier, the defender, the king, the learned, the just, the holy soldier, the defender, the pious, the victorious, trusting in God, the triumphant, sultan of Islam, the doer, the just, the holy soldier, the defender, the pious, trusting in God, the triumphant, sultan of Islam and the Muslims, tamer of unbelievers and polytheists, possessor of justice in the world.”

These inscriptions sing the praises of an unnamed sultan — for whom the vase was likely commissioned — a form of eulogic titling commonly found on objects from early 7th century AH/13th century CE Ayyubid Syria, and later continuing into the Mamluk period.

Three exotic birds also decorate the vase, reflecting the influence of luxurious central Asian textiles (Mongol in particular) arriving in Egypt in the mid-8th century AH/mid-14th century CE. The birds might also relate to the famous phoenix from the 572-573 AH/1177 CE Persian literary work Conference of the Birds and represent symbols of immortality and hope. The precision and detail of the vase’s decoration suggest that it was made in a workshop in either Egypt or Syria, both established centres of enameled glass-making during the Mamluk period.

With its rich history, intricate engravings and exquisite craftsmanship, this vase is a testament to the creativity and innovation of glassmaking during the Mamluk era, making it a stunning centrepiece of the Museum of Islamic Art’s permanent collection.

Loubna Zeidan is a Senior Editorial Specialist at Qatar Museums.

The 'Cavour' vase is on display in Gallery 1 of the Museum of Islamic Art, alongside other treasures from MIA’s permanent collection.