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Qantara - Panel with epigraphic decoration
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Qantara Qantara

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Panel with epigraphic decoration


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  • Title/name : Panel with epigraphic decoration
  • Production place : Khimiri workshop, Qallaline, Tunis, Tunisia
  • Date / period : Nineteenth century, AH 1216 / AD 1801
  • Materials and techniques : Earthenware; painted decoration on opaque glaze
  • Dimensions : H. 165 cm; W. 90 cm
  • Conservation town : Tunis
  • Conservation place : Bardo Museum
  • Inscription :

     

    Poem in naskhi script: “In the name of lenient and merciful Allah / this residence is radiant with joy / and cheers those who look at it / good fortune is inscribed on its thresholds / cross them in complete peace.”

The decoration of this panel is both Turkish and Andalusian in inspiration.

In a mihrab made up of two colonnettes supporting a pointed arch, a text written in cursive style is divided up among five multifoil cartouches one on top of the other. It welcomes and blesses those who cross the threshold of the residence containing the panel. The pious text is topped, beneath the arch, by the stylized drawing of a mosque, represented on a flat surface with no perspective. The only parts of this Ottoman-style building depicted are a central dome flanked by two minarets and small cupolas. The decorative borders comprise branches in blossom. The work is signed Khimiri.

This objet is a good example of the Ottoman influence in Ifriqiyan art, visible notably in the use of the mihrab for the frame and the mosque with a central dome and circular minarets reflecting the Ottoman prototype.

The distinctive epigraphic decoration is characteristic of the Khimiri workshops. Three similar prototypes are now in the Bardo Museum. Another – decorated differently – from the same workshop, is in the collections of the Musée du Quai Branly in Paris[1]. These large panels most likely covered the walls of the Tunis residences, palaces or buildings like the mausoleum of Sidi Mehrez, where a panel produced in 1805 is still in place. They reached Algeria, where a similar work made up of fifty tiles decorates the Château d’Hydra in Algiers. These panels also spread to Libya. They are found on several buildings, for example, the Mustapha Gorgi Mosque (1834), and Tripoli residences, such as that of “Beït Mohsen” whose panels date from 1813, giving us the full name of the ceramist, al-Ustah Yussif al-Khimiri, for the first time. The craze for these panels even spread to Egypt where they are present, for example, on the mosque and mausoleum of Muhammad Abū Adh-Dhahāb built in 1774. It seems that this type of ceramic panel was exported to the countries on the southern shore of the Western Mediterranean except for Morocco, as well as to certain European countries, such as Italy and France[2].

NOTE

[1] Wall panel, Qallaline, Tunis, Khimiri workshop, earthenware with painted decoration on opaque glaze, Musée du Quai Branly, Paris, inv. 74.1962.0.824.

[2] Couleurs de Tunisie 25 siècles de céramique (Paris: IMA / Adam Biro, 1994), 191, 255.

BIBLIOGRAPHY RELATED TO THE ITEM

Daoulatli, A., Poteries et céramiques tunisiennes, Tunis : INAA, 1979, p. 64-65.

Louhichi, A., De Raqqada à Qallaline (900-1900),  Nabeul : Néapolis Céram, 2000, p. 87.

Couleurs de Tunisie, 25 siècles de céramique, (cat. exp., Paris, Institut du monde arabe, 1994), Paris : IMA / Adam Biro, 1994, p. 249, n° 204.

REFERENCE BIBLIOGRAPHY

Degeorge, G. ; Porter, Y., L’art de la céramique dans l’architecture musulmane, Paris : Flammarion, 2001.

Mawsu'at al-Athar al-Islamiyya fi Libya, Service des Antiquités et Jamiyat ad-Dawa al-Islamiyya al-Alamiyya, Tripoli, 1989, t. II, p. 43.

Romanelli, P., « Vichie case arabi di Tripoli », in Architectura e arte decorative, I, Roma : Casa Editrice D'Arte Besette e Tuminelli, 1923.

Skik, K., Musée du Bardo, Département musulman, Tunis : INA, 1974.




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