AN ISLAMIC OPENWORK OIL LAMP AND STAND, CENTRAL ASIA, 12TH-13TH CENTURY

The lamp is a wonderful example of its type, standing on a spreading and trumpeted pedestal base, decorated with a simple openwork motif, with a fuel chamber that is squat in form, topped by a hinged, highly decorated bell shaped lid. On the front of the chamber, and on each side, are spouts with long openings, to increase the amount of light the flame would produce. Attached to the back of the body is a flat projection to which a loop handle is fixed. On top of this is a large, inverted teardrop to act as a counterweight, allowing the user of the lamp to hold it at a distance safe from burning. The tubular stand, also with openwork, rises from three feet to a level shoulder. Just above, the dome-shaped section is adorned with perforated arabesque decoration, which leads to a carved tubular shaft with bosses at either end. The magnificent stand culminates with a wide circular tray that has slightly flared rim with engraved calligraphy. The inclusion of calligraphy illustrates a medieval passion for the form, where it was extended beyond a means to transmit a message in to a versatile and infinite art form, and descriptions on lamp stands are known to reference the virtues of light. The palmette design around the foot of the stand resembles earlier archaic forms and highlights the amalgamation of styles present. This rare example of a complete lamp and stand is testament to the medieval Islamic metal workshop’s skill and ability in producing monumental pieces that seamlessly combine form and function to produce exquisite works of art. The volume of bronze necessary to create such a piece, combined with the necessary knowledge in bronze-working mean this could have only been created by a particular skilled artisan versed in production techniques, and only afforded by a wealthy patron of the workshop.Illumination depended on objects such as this, and the raised freestanding platform would have provided greater light than a held lamp. Particularly fine examples such as this were often used for special ritual occasions, when an increased demand for devices was apparent, and particularly fine lamps and stands would be publicly displayed. 83 cm. (stand), 23 cm. (lamp)CATALOGUE NOTE. The Nasser D. Khalili Collection of Islamic Art in London contains a similar Khorasan lamp stand from the 11th – 12th century constructed from pierced openwork bronze, which stands shorter at 60 cm. in height. It closely resembles this example, with a delicate and intricate pattern typical of the period, and zoomorphic hooved feet. The Nasser D. Khalili example is missing its original lamp, stressing the importance of this complete unit. The Victoria and Albert Museum in London contains a similar Khorasan lamp, which also contains engraved calligraphic designs. It lacks the openwork detailing and intricate counterweight of ours, and has only two spouts rather than three, but illustrates the huge array of shapes in which these objects came. Combined these objects highlight the importance of artificial light in the medieval world, used to illuminate homes, mosques and madrasas, but also the pride taken in adorning functional objects with beautiful design.