This immense work forms part of Moshiri’s debut Jar Series, one of the most important and instantly recognisable sequences of his career to date. His jars are variously influenced by the amphorae of the pre-Islamic period, namely Sassanian remains, the thirteenth century Seljuk potters in Persia, and the extraordinary archaeological riches of Iran. The creation of the Jars is a painstaking process: the fragility of the craquelure within this piece is the result of Moshiri patiently applying layers of paint before folding and crushing the canvas. Set against a plain white background the viewer is encouraged to consider the object in its entirety and without extraneous distraction. Moshiri’s decision to celebrate a humble utilitarian object marks his commitment to continuity and tradition: “I had picked as a subject matter an object that the first man had made and here I was, thousands of years later, doing the same thing again, despite every revolution, all the changes that had happened.”(The artist cited in: W. Singh-Bartlett, "Farhad Moshiri When Ancient becomes Modern", in: Canvas magazine, Vol. I, No. 5, September/October 2005, pp. 76-79).