Incense burner in the shape of a lion
1 2024-03-28T13:30:54-07:00 Richard Lent 3e723f35a685aebf07b8b602f188f085f3fa0c8f 44801 3 Incense Burner of Amir Saif al-Dunya wa’l-Din ibn Muhammad al-Mawardi, made by Ja`far ibn Muhammad ibn `Ali, Dated 577 AH/1181–82 CE, Found Iran, Taybad, Metropolitan Museum of Art 51.56. plain 2024-08-18T09:47:53-07:00 Zoe Zimmer 726b0bce27fe407b566d2fd9122871e9e9ddcf50This page is referenced by:
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Why was the Reclining Cat made, and how was it used?
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The sculpture has no obvious practical use. However, scholars have argued that it could be a pumice stone holder. Some of these figurines also contain lead, making them very heavy, so they could have also been weights. This cat sculpture may also have been created as an object of art, designed to beautify and add sophistication to its surroundings. Wealthy individuals or patrons of the arts displayed such pieces in their homes or gardens to show their refined taste and cultural stature. Other bronze sculptures of lions and cats made in the Seljuq were made to be incense burners, but WAM's cat is not pierced and could not have been used in this way.
With their enigmatic presence, cats have been revered in many cultures for their grace, agility, and perceived mystical qualities. In Seljuq Iran, the sculpture could have symbolized protection, wisdom, or prosperity, serving as a talisman or an emblem of good fortune. Its presence in a household or public space might have been believed to bring benevolent influences or ward off evil spirits. In Islam, cats are considered clean.
The inscriptions and motifs adorning the sculpture suggest it was also a medium for intellectual or cultural expression. It could have served as a tangible representation of literary themes, philosophical ideas, or religious beliefs. Similar objects functioned as conversation pieces, sparking discourse among the educated and the elite.
It's possible that the cat sculpture was commissioned to commemorate a specific event, individual, or achievement. In this context, it would serve as a lasting tribute, embodying the values or memories it was meant to preserve. Exquisite artworks like this sculpture were also used as prestigious gifts, exchanged among rulers, dignitaries, and wealthy merchants to cement alliances, honor agreements, or express respect and admiration. Its craftsmanship would have made it a highly valued offering. This particular sculpture was probably owned by an aristocrat, but may not have been fancy enough to be a diplomatic gift.
Few domestic interiors of the period survive, but below is the interior of a madrasa, or religious school, commissioned by a Seljuq vizier.
Audrey Wang, Class of 2025, College of the Holy Cross
