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Of the pottery of the later Islamic period, the Rajab collection includes a
few pieces of blue and white wares. One of them is of particular interest, since it comes from
Syria and may be dated to the fifteenth century
20(18k)
. There are also a few examples of
Hispano-Moresque wares. Although they were made after the Islamic period, yet their decoration
is in the Islamic style, painted with lustre (cover, centre right). The third type of the later
wares is the famous Iznik pottery and tiles of Turkey. Iznik produced earthenwares, the Miletus
ware, with red earthenware bodies coated with white lead glaze and decorated in cobalt-blue,
until the second half of the fifteenth century. Then, almost from one day to the next, the
potters of Iznik began to make faience vessels and tiles. Early examples betray the source of
their inspiration: Chinese blue and white porcelain, which had reached Istanbul and the Imperial
collection in large numbers by that time. However, soon out of these far Eastern imitations the
potters of Iznik developed their own style and types which were decorated with flowers, special
Turkish designs, like the chintamani, saz leaves, et cetera. Such colourful designs were most
attractive on wall tiles, which were manufactured for the decoration of mosques, built in large
numbers during the period of Sultan Sulayman, the Magnificent (1520-1566) and designed by his
famous, outstanding architect, Sinan Pasha. Perhaps Iznik owes its fame and success to the
building activities of these two great men of sixteenth century Turkey. Nevertheless, the plates
(cover, top row, second right), jugs
21(25k)
, ewers and tiles which were produced at Iznik during
this period are the pride of Islamic pottery and they are present in large number in the Rajab
Museum.
This brief article cannot be other than a superficial survey of this
outstanding collection. The entire holdings of the museum, not only the pottery, deserve more
detailed and thorough studies, and such scholarly works are already planned. Each section of
the collection will be published in separate volumes. Until the Iraq invasion the Rajab
Museum was hardly known to the public. Since liberation it became a focus of attention and
cultural activities and there is hardly a foreign visitor to Kuwait who has failed to visit
it. It is a miracle that it has survived the occupation and that its rich collection was
saved, not only for the enjoyment of the people of Kuwait but for the whole world. Indeed, for
all those who admire and appreciate art. That is survived unscathed is due, apart from the
mercy of God, to the bravery of one lady: Mrs Jehan Rajab, who was there during the whole
seven months of Iraq occupation. We owe her our gratitude.
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