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These two silver trays from Riau (ريو) and Brunei (بروني) reflect the connection between ceremonial objects and Malay ro...
12/10/2026

These two silver trays from Riau (ريو) and Brunei (بروني) reflect the connection between ceremonial objects and Malay royal and courtly traditions. The Riau tray dated 1127 AH (1715 AD), bears a Jawi inscription naming its owner, Tengku Khadijah binti Sri Maharaja Sultan Abdul Jalil Riau, making it an unusually significant example of courtly silver.

Both trays feature the keris, a symbol of sovereignty, authority and allegiance in Malay royal culture. The Riau tray depicts a pair of keris and a spear among radiating floral and foliate motifs while the Brunei tray features crossed keris at its centre. This imagery also recalls the ceremonial role of silver trays in Malay royal traditions. During the installation ceremony of the Keris Panjang Diraja, the royal keris was presented to the new ruler on a silver tray before being ceremoniously unsheathed as a symbol of royal authority.

Towards the end of the Safavid dynasty, Iran’s economic situation deteriorated significantly, contributing to a sharp de...
08/10/2026

Towards the end of the Safavid dynasty, Iran’s economic situation deteriorated significantly, contributing to a sharp decline in exports, particularly in pottery and ceramic wares. However, during the Qajar dynasty, ceramics experienced a revival circa 1865-1885, as artisans began producing wares that imitated the artistic styles of the Safavid period. This revival developed under the reigns of Fath Ali Shah Qajar (r. 1797–1834), Mohammad Shah Qajar (r. 1834–1848), and Nasir al-Din Shah Qajar (r. 1848–1896), reflecting a renewed interest in the artistic traditions of Iran’s Safavid past.

The fritware tiles, made of a mixture of finely ground white flint stone and white clay, are painted in colours made of minerals such as blue from cobalt, yellow from antimony, turquoise from copper, black from chromium and purple from manganese. These tiles were made for display, usually as a tabletop. Each tile recalled scenes inspired by Persian literature, especially the love story as depicted on the first two tiles with Armenian churches of Isfahan as the background. Religious figures such as the Queen of Sheba attending dervishes at her royal court were a favourite decorative theme.

For an Indian bridegroom, wedding attire could be as elaborate as that of royalty. This ornamental headdress, possibly f...
05/10/2026

For an Indian bridegroom, wedding attire could be as elaborate as that of royalty. This ornamental headdress, possibly from 19th-century North India, consists of a ‘topi’ (fitted cap) and a ‘sehra’ (jewelled veil) featuring a gem-set border and 25 suspended strands adorned with rubies, pearls and emeralds, each ending in a tassel.

The sehra has long been associated with wedding traditions across the Indian Subcontinent, including those of Indian Muslim communities. A 19th-century account of Muslim customs in India records the sehra's connection to protection from the Evil Eye. Depending on the community and region, this headgear has also been unexpectedly associated with humility.

These 'Pink Qur’an' folios consist of verses 50 to 53 of Surah al-Qasas, part of final verse of 78 from Surah al-Hajj an...
01/10/2026

These 'Pink Qur’an' folios consist of verses 50 to 53 of Surah al-Qasas, part of final verse of 78 from Surah al-Hajj and verses 1 to part of verse 9 of Surah al-Mu’minum. Produced eight centuries ago, they are written in the Maghribi script style popular in North Africa and the Iberian Peninsula.

A striking feature is that the upper margin of one of the folios has been carefully pricked with fine needles to form the word ‘habs’, the Maghribi equivalent of waqf (pious endowment) (see final image). The word was applied to most Pink Qur’ans from the Marinid period, probably from the very end of the 13th century or the first decades of the 14th century. This method of re-endowment is found on Pink Qur’ans that had previously been endowed during the Almohad dynasty, which was overthrown by the Marinids. The Almohads recorded certificates of endowment on the Qur’ans in a form that could be easily erased. The Marinids therefore appear to have adopted this technique to permanently re-endow these Qur’ans.

Ceramics such as these from the medieval Islamic world are distinctive for their colourful splashes of glaze applied ove...
28/09/2026

Ceramics such as these from the medieval Islamic world are distinctive for their colourful splashes of glaze applied over an incised or plain surface. The technique is believed to have developed in 9th-century Iraq with production centres shifting eastward towards northeastern Iran and Central Asia a century later.

Using the sgraffito technique, these two bowls dating from the 10th–13th century feature lightly incised geometric and curving designs with splashes of iron, copper, green and brown glazes creating varied decorative effects.

The extent of Chinese influence on their development remains a subject of scholarly debate. While similarities have been noted, Islamic examples generally developed their own forms and incised designs, reflecting the creativity of local potters.

This finely crafted wooden Qur’an container reflects the reverence accorded to the Holy Book and the care with which its...
24/09/2026

This finely crafted wooden Qur’an container reflects the reverence accorded to the Holy Book and the care with which its sacred text is preserved and handled. The upper section of the box is inscribed with verse 77 of Surah al-Waqi‘ah (Qur’an 56:77), which reads: “Indeed, it is a noble Qur’an.” Inside, the reader encounters another carved inscription, taken from verse 79 of the same surah: “None touch it except the purified.” This verse has traditionally been understood as requiring Muslims to perform ablution before handling or reading the Qur’an. The same verse is also commonly inscribed on the flaps of Qur’an covers in many parts of the Islamic world, including India.

The box contains sixty volumes, comprising the thirty parts (ajza’) of the Qur’an, with each part divided into two volumes. Most of these are dated 1204 AH (1789 AD) and were composed in India. Each manuscript contains various styles of illuminations. Only the page featuring Surah al-Fatihah and the opening of Surah al-Baqarah are fully illuminated. Gold, blue, red, orange, and turquoise are among the colours chosen to illuminate the manuscripts, reflecting illumination traditions found in Kashmir as well as those seen in Safavid Qur’ans.

Scents have long been important in Indian culture. Attar was used by both women and men while rose water was offered to ...
21/09/2026

Scents have long been important in Indian culture. Attar was used by both women and men while rose water was offered to guests during social and courtly gatherings.

This 19th-century silver perfume casket from Kashmir is fitted with six silver-mounted glass bottles. The pierced decoration transforms a practical container into an ornamental marvel. Beyond its function, the casket shows the importance of fragrance in personal and social rituals while its intricate craftsmanship demonstrates the refinement of Kashmir's silverwork.

Its appeal seems possibly to have extended to the Dukes of Hamilton and William Beckford — at one time England’s richest man and most avid art collector.

The Islamic art of Malaysia is especially prominent in the East Coast Peninsular states of Kelantan and Terengganu. In c...
16/09/2026

The Islamic art of Malaysia is especially prominent in the East Coast Peninsular states of Kelantan and Terengganu. In conjunction with Malaysia Day, which commemorates the formation of Malaysia through the union of Malaya, Sabah, Sarawak and — briefly — Singapore, the Islamic Arts Museum Malaysia is highlighting a Qur’an from Terengganu. Dated 1275 AH (1859 AD), it reflects the flourishing of culture in Terengganu under the patronage of ruler Baginda Sultan Omar.

The palette of this mushaf is dominated by gold illumination, evoking the Ottoman tradition of tezhip, or gilded manuscript illumination. It has distinctive Terengganu characteristics that distinguish it from Qur’anic manuscripts produced elsewhere in the Malay world. One of the most recognisable features is the use of three principal arches in the illuminated opening pages. The surah titles are rendered in thuluth script, one of the major forms of Islamic calligraphy traditionally employed for decorative purposes.

Traditionally associated with Russia, Central Asia, Iran and the Indian Subcontinent, these three samovars from the 19th...
14/09/2026

Traditionally associated with Russia, Central Asia, Iran and the Indian Subcontinent, these three samovars from the 19th to early 20th century were used to boil water for tea. The samovar became as decorative as it was practical, taking on a wide variety of forms and finishes across different regions.

The Qajar samovar features richly decorated arabesques with mythical creatures forming its four feet. Another, possibly made in Western Europe, is heavily gilded and features vibrant gilt-bronze mounts and a crescent-and-star finial, a signature motif of Ottoman visual culture. The third, made by French silversmith and jeweller Maurice Mayer, features the eagle-and-crown insignia of Napoleon III alongside foliate decoration evocative of Ottoman and Middle Eastern motifs.

These samovars reveal how a vessel associated with the ritual of tea could become an expression of craftsmanship, cultural exchange and hospitality.

Indian trade textiles served as vital currency in the Malay world's barter and exchange networks, functioning as the pri...
10/09/2026

Indian trade textiles served as vital currency in the Malay world's barter and exchange networks, functioning as the primary medium for acquiring precious local spices, animals and forest products.

The kain sembagi was a ceremonial cloth accorded the status of a sacred heirloom. Made along the Coromandel Coast of India and traded to Sumatran markets during the 19th and early 20th centuries, particularly in Palembang, Lampung and Jambi, the cotton cloth employed a combination of block printing, painting, mordant dyeing, and resist dyeing techniques.

In Sumatra, the cloth was further embellished with 'perada emas' (gold leaf), applied in various patterns that did not necessarily cover the entire surface. This gilded section was prominently visible when the cloth was worn. Local demand also led to the incorporation of the 'pucuk rebung' (bamboo shoot) motif, an important cultural marker across the Malay world and commonly found on Sumatran songket. Over time, the Javanese batik makers adapted and locally manufactured kain sembagi, such as the red version decorated with perada which was, likely produced in Pekalongan, Java, for the Sumatran market.

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50480

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