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Openwork Panel with Inscription

View through Harvard Museums
This curious object has so far defied identification. A small rectangular sheet of brass was pierced to produce an intricate openwork design, and brass rods topped by round finials were soldered to the sides. The front face was then inlaid with silver and copper (both 99 percent pure). Bold strapwork divides the design into three horizontal registers. The upper and largest zone carries a Kufic pseudo-inscription set against a foliate scroll. The letters are animated with two bust-length human figures and a variety of animals and animal heads. In the two lower registers, the strapwork is interlaced in nearly symmetrical fashion, creating geometric interstices that are filled with leaves, rosettes, and round bosses. In accord with traditional metalworking technique, the brass sheet was incised and textured to receive the copper inlay, as can be seen where this inlay is missing. The attachment of the silver, however, is unusual and may reflect modern restoration: it appears to have been positioned in parallel strips (usually three) and hammered to make it adhere to the underlying sheet. Both silver and copper inlays are partly decorated with fine incised lines and punch marks.
Department of Islamic & Later Indian Art Stanford and Norma Jean Calderwood Belmont MA (by 1978-2002) gift; to Harvard Art Museums 2002. Harvard Art Museums/Arthur M. Sackler Museum The Norma Jean Calderwood Collection of Islamic Art
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Title: Openwork Panel with Inscription
Description:
This curious object has so far defied identification.
A small rectangular sheet of brass was pierced to produce an intricate openwork design, and brass rods topped by round finials were soldered to the sides.
The front face was then inlaid with silver and copper (both 99 percent pure).
Bold strapwork divides the design into three horizontal registers.
The upper and largest zone carries a Kufic pseudo-inscription set against a foliate scroll.
The letters are animated with two bust-length human figures and a variety of animals and animal heads.
In the two lower registers, the strapwork is interlaced in nearly symmetrical fashion, creating geometric interstices that are filled with leaves, rosettes, and round bosses.
In accord with traditional metalworking technique, the brass sheet was incised and textured to receive the copper inlay, as can be seen where this inlay is missing.
The attachment of the silver, however, is unusual and may reflect modern restoration: it appears to have been positioned in parallel strips (usually three) and hammered to make it adhere to the underlying sheet.
Both silver and copper inlays are partly decorated with fine incised lines and punch marks.

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