Document Type : Original Article
Author
موزه های بنیاد
Abstract
Humanity's fascination with predicting events and understanding the causes of phenomena that directly impact their lives led to the development of techniques that were occasionally referred to as occult practices. Due to limited knowledge, humans sometimes went to extremes and ventured into a realm of mere illusions and imagination. Protection against danger, warding off the evil eye, astrology, prophecy, improving one's livelihood, divination, and attracting lovers, which in extreme cases involved the use of magic, spells, and sorcery, were among these practices. By becoming entangled in these illusions, individuals further perpetuated the success of these endeavors and continuously sought to overcome their weaknesses through such means. The widespread adoption of these beliefs by a significant number of ordinary people ensured its survival throughout various historical periods. Different tools were created to address these issues, like the forty-keyed (Jam-e-Chehel Kelid) and countercharm bowls (Tas-e-Batil-Al-Sehr) being particularly significant in various historical periods. Although their historical use may seem futile at times, these objects possess notable artistic qualities in their design and craftsmanship, particularly during the Islamic period. Scholars have conducted extensive research on the language, script, content of the writings, the images, and the usage of these bowls. The archive section of The Mostazafan Foundation's Cultural Institution of Museums contains numerous bowls, including one that is particularly noteworthy for its artistic merits. Despite the presence of a file on this piece, it has yet to be thoroughly researched and its exact date remains unknown. As such, this study will utilize a case study approach, incorporating photographs and bibliographic materials gathered during the research process, to examine and analyze the object. The results will be interpreted and analyzed using a historical approach and rationalist perspective.
The results of the study indicate that the origins of these objects can be traced back to the Pishdadi and Keyani periods, with notable kings such as Jamshid and Keyxosrow. During the historical era, rudimentary terracotta examples emerged towards the end of the Sasanian period. The inscriptions on these objects revolved around seeking sustenance, protecting against evil forces through good forces, and seeking love from others.
During the early Islamic period, the use of illusory texts on terracotta bowls became obsolete due to the prevalence of ideas that condemned such practices. Prayers, wisdom, ethical sentences, and sometimes hadiths of religious elders replaced these texts. However, during the reign of the Zangid Dynasty in the middle Islamic centuries, metal vases with similar inscriptions were discovered. As the Safavid dynasty rose to power, the production and spread of these vases increased significantly, with many being produced and their production continuing to flourish until the contemporary period. Reliable sources indicate that during the Safavid period and beyond, these vases were known as the forty-keyed, Counter Charm bowls and Jam-e-Sehri (sorcery bowl).
The majority of these containers are of medium and small sizes. The production of this type of bowl typically involves the use of brass alloy. The rationale behind this choice, in addition to the alloy's resistance against corrosion caused by moisture and turbidity resulting from frequent usage, can be attributed to a psychological aspect rather than a specific function. It appears that the advertised ability of this alloy to detect and counteract poisonings had a significant influence on the customers of these cups. They were convinced that if a liquid poisoned with arsenic was poured into these containers, it would react with the material of the bowl, thereby alerting the user to any potential conspiracy.
Typically, the engravings on these vases commence with Surah Al-Fath positioned at the upper part of the rim, while some verses or all of the Ayatul Kursi are either placed below or on top. Generally, there are no inscriptions that include the name of the manufacturer, customer, or the year of production. The inscriptions are skillfully written in Thuluth, Naskh, and Nastaliq scripts. Toreutics is the prevailing technique employed for decorating this particular class of vases. Alternatively, the black pen technique is also prevalent. In this method, the inscriptions are delicately written with a fine pen using a dark substance, typically black ink. Arrays, large pictures, and Nastaliq inscriptions, which require a broader pen, are executed using the background color and the metal body as the ink color.
Toranj (medallion), Nim-e-Toranj (half medallion), Akhtars (stars), and sometimes Nim-e- Chelipa (half cross) serve as dividers between inscriptions and pictures. The inscription text is often divided into multiple boxes. The presence of mintakulburuj (zodiac constellations) and the ancient seven planets, both on the outer and inner surfaces, is of particular importance. The tradition of including these motifs during the Safavid period remains almost identical. In numerous instances, the elements within the Arabesque designs are not only intricately represented but also closely positioned to one another. The primary textual content featured in these inscriptions consists of Quran verses from Baqarah, Ma'idah, Qalam, Nasr, Tawheed, Taha, Yusuf, and Ṣād. Additionally, renowned prayers that emphasize the attraction of love are consistently incorporated. The middle body of the outer face of the container features the Asma' Al-Husna (The holy names of Allah) along with blessings on the Prophet of Islam and Imams, all guaranteed by their titles. Additionally, the first ring of inscriptions on the inner base of a bowl contains the well-known prayer of Nad-e-Ali.
Eliminating evil eye, nullifying enchantment, sorcery and incantations, astrology, divination, recuperation, safeguarding against malevolent entities and spirits during childbirth, commonly known as preventing miscarriages, averting miscarriages in infants, addressing infertility and aiding in childbirth for barren women, Predicting fortunes for young girls, pursuing happiness for women, and overall, seeking any form of opportunity and reliance on sustenance and fortune are common in these objects. The prayer inscribed on the paper was dissolved in the water contained within and served to the customer, or the water from these containers was poured forty times over the heads of individuals such as parturient women, babies, girls, and barren women during their baths.
The museum's bowl is a small sample. It has a flat edge that slightly turns outward, while its body is convex and has a concave bottom. The entire surface of both the inner and outer body, including the edge and floor ridge, is adorned with inscriptions that contain the holy names of Allah and verses from various Surah such as Al-Imran, Baqarah, As-Saaffat, Ṣād, Taha, Yusuf, Qalam, Ma'idah, Nasr, Tawheed, and Al-Ahzab. The writing on this piece begins with Surah Al-Fatihah on the edge, and unlike most examples that continue with Ayatul-Kursi, this one ends with passages from the famous sermon of Adam.
Salutations to the Prophet of Islam and Imams, along with their titles, are elegantly inscribed in Nastaliq script and with a large pen at the center of the outer body. The famous prayer of Nad-e-Ali is beautifully written in Nastaliq script and bold pen in the first ring of inscriptions on the inner base of the bowl. The exterior of the bowl shows the twelve constellations of the zodiac, each represented by a picture. All inscriptions and designs are meticulously placed within medallions and half-medallions. The decorative elements are skillfully engraved, and the use of the black pen technique enhances the clarity and intricacy of the words and pictures.
The presence of an inscription displaying the construction year, specifically the numeral 1080 AH. (1669 AD), on the exterior surface of the bowl, indicates that this object was crafted during the second year of King Suleiman's reign, who was one of the final rulers of the Safavid dynasty. By examining the structural characteristics of the container and the depiction of the zodiac signs, it has been verified that this artwork indeed belongs to the Safavid period and dates back to the 11th century AH (17th century AD).
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