Journal of Art History

Abstract

In Turkish culture and art, metal artifacts emerged around 4000-1000 BCE, in Islamic art, they first appeared in the 7th century. Islamic metalwork entered its classical period in the 11th century with the influence of the Iranian school. This period also marks the time when the Seljuk Turks arrived in Iran. The Seljuks introduced new techniques and forms to metal art and included a wide range of compositions in their works. This level of advancement influenced various regions, including Iraq, Egypt, Syria, and Anatolia. In Iran, the Seljuk tradition of metal art was continued through the Timurid, Safavid, and ultimately the Qajar dynasties, a Turkish dynasty. One example of this tradition is the figurative metal bowl currently preserved in the storage of the Erzurum Archaeology Museum. No information regarding its production date or place is available on the bowl. However, upon examination, it was seen that the piece belongs to the Qajar metalwork school due to its decoration style and technical details. The piece features elements commonly found in Iranian metal art that starts from the Great Seljuk period, such as hunting scenes, hunters, animal combat scenes, dragons, composite animal figures, stylized vegetal motifs with rumi patterns, medallions, and vegetal background fillings. However, these criteria alone are insufficient for precise dating. During the 19th century, when the Qajar Dynasty ruled Iran, Western-style changes began to emerge. In this century, bilateral relations established with Europe had a significant influence not only politically and militarily but also on cultural life and artistic works. Metal art remained open to Western influences in its technique and decorative styles. European-style clothing and postures reflected in the figures, fantastical human figures not seen in Islamic art, imaginary creatures, and depictions reflecting the European grotesque style became widespread. The metal bowl in question also contains elements of these influences. Additionally, to determine the artifact’s period, the technical details of Iranian metal art were examined. As well as being a common feature in Iranian metal art, the crosshatching style, first seen in the 14th century and gradually abandoned after the mid-18th century, has served as a key clue for dating the piece. To clarify this further, the methodology of the study consists of sections discussing the origins of Qajar metal art, the description of the artifact, stylistic analysis, and a review of the period. The study explores how Qajar metal art was shaped by the decorative traditions of the Seljuk period and the long-established Iranian heritage. It also examines the influence of European artistic styles, particularly the grotesque, and how the Qajars adapted this blend to their own artistic approach. Due to the reusability of metal, fewer examples of metal art have survived to the present day. Among these, the stylistic details of Qajar metal art remain insufficiently understood. Therefore, this study aims to introduce one of the few surviving figurative Qajar metal pieces to the academic world. Through this artifact, it also seeks to explore the stylistic features of Qajar metal art, characterized by its eclectic approach.