A fine Kashan Minai pottery bowl, Persia, 12th-13th century

of deep rounded form on a short foot and with a slightly everted rim, decorated in underglaze and overglaze cobalt blue, turquoise, red and shades of tea rose, outlined in black, with a central scene depicting a horse-rider bowing before a female figure standing atop a stylised tower, surrounded by human and animal figures and adorned with curving floral motifs, enclosed by a calligraphic band in kufic script, the rim with a geometric design, the exterior with a framed cursive inscription

Very minor losses to the rim. Minor cracks and very minor abrasions throughout, as evidenced by the exterior, with associated restoration. Light abrasions to the base. As viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

inscriptions

Round the inner rim in Kufic, repetition of possibly wa al-d[awla] 'And Wealth'

Round the outer rim in cursive, repetition of possibly al-'izz 'Glory'.

The advent of overglaze enamelled decoration in the late-twelfth century saw a transformation of the traditionally limited ceramic colour palette. Where once the range was restricted, potters began to apply enamels in black, red, blues, greens and purples. As a result the artist could produce detailed narrative scenes that are arguably more evocative than those previously seen on Persian ceramics. The minai masters were the self-same potters who worked on lustreware of the twelfth and thirteenth centuries, and as a result both techniques share certain features both technically, such as their second firing, and in their decoration, such as the moon-faced figural type. The decorative elements of minai ware are thought to originate in textile patterns and book illustrations.