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Lusterware

Lusterware or Lustreware (respectively the US and all other English spellings) is a type of pottery or porcelain with a metallic glaze that gives the effect of iridescence. It is produced by metallic oxides in an overglaze finish, which is given a second firing at a lower temperature in a "muffle kiln", or a reduction kiln, excluding oxygen. [1] The discovery of this technique can be traced back to the 7th century A.D. when Islam emerged in the city of Mecca.[2] Lusterware was first created for the royal courts and the technique of lusterware on ceramic was developed originally in Iraq. Some pieces were signed by their makers, this acted as an indication of the admiration towards each craftsman. Trading in the Middle East was very popular. Abbasid lusterware was very common in trade within the Islamic world; other popular trade items were textiles and various materials for building and crafting (ivory, wood, etc.). The Abbasid period served as an era of discovery especially in relation to the production of luster. The city of Baghdad, Iran and surrounding cities were located on the Silk Road which was the hub of trading during this period. There was a movement of goods generated between Iraq and China which triggered artistic emulations both ends, as well as some transfers of technologies, notably in the realm of ceramics.[3] Lusterware traveled along the trade routes; the production of ceramic lusterware was seen in Egypt and Syria during later centuries.

Understanding Lusterware

Lusterware ceramics were predominately produced in lower Iraq during the ninth and tenth centuries.[4] In the Great Mosque of Kairouan, Tunisia, the upper part of the mihrab is adorned with polychrome and monochrome lusterware tiles; dating from 862 to 863, these tiles were most probably imported from Mesopotamia. The reminiscence of shining metal, especially gold, made lustreware especially attractive.[1] To make lusterware, water is mixed with metal salts for decorating the pottery, vinegar or mud are blended with metal salts to polish the surface of the pottery. [5] The pottery endures a second firing in a reduction kiln; this process removes the oxygen from the metal oxides in the glaze. What is left behind is the metal deposited on the surface of the plate which gives the pottery a metal shine. The result is a surface layer with a metallic appearance, exhibiting various colours, from gold to brown or red. [6] Art in the Islamic world is extremely decorative so there is no exception when it comes to ceramics. The bowls were painted with ornamental patterns and designs. Some were lusterware pieces used for religious purposes while others were acceptable for daily use.

Decoration

Some Abbasid lusterware can be differentiated by figural vs. vegetal design where some include icons and others show plant life.[4] Of course, though, some displayed both plants and figures. At this point in time, there was an aesthetic preference for completely covering the surface of objects with ornamental decoration, and this is also the case for lusterware ceramics. As lusterware made appearances in other cultures and countries, less decoration was introduced. Abbasid lusterware can either be polychrome or monochrome when it comes to the colors featured in the ceramics. It is argued that the different color types share the quality of the surfaces changing under different conditions. The Abbasid people would normally decorate polychrome bowls with vegetal and geometric patterns, while the monochrome bowls usually had large, centrally placed figures.[4] They are visually sensitive and their appearance can change dramatically in particular conditions.[4] The earliest forms of lusterware were decorated with three to four colors, but as time went on the colors used was reduced to two.[2] Recent studies have argued that the preference between polychrome and monochrome has to do with the price of materials and or the availability.[4] This leads to more monochrome wares being produced over polychrome. The Islamic people took great pride in the lusterware and how they were perceived by many; the lustrous sheen that these pieces give off is delightful to the eye and has been adorned by many for centuries. The diversity between the designs of lusterware is endless and the variety plus technique is what makes these wares so desirable. Islamic ceramic production has been thrown on a course of evolution that has been brought into the modern era.[3]

Bowl from Iraq, mid-800s. Lustre technique. Room 42-43, British Museum. 1956,0728.2


  1. ^ a b "Lusterware", Wikipedia, 2019-09-18, retrieved 2019-10-31
  2. ^ a b Peck, Elsie Holmes (1997). "Like the Light of the Sun: Islamic Luster-Painted Ceramics". Bulletin of the Detroit Institute of Arts. 71 (1/2): 17–18. ISSN 0011-9636.
  3. ^ a b George, Alain (10-15-2015). "Direct Sea Trade Between Early Islamic Iraq and Tang China: from the Exchange of Goods to the Transmission of Ideas". Journal of the Royal Asiatic Society. 25 (4): 582, 605. doi:10.1017/S1356186315000231. ISSN 1356-1863. {{cite journal}}: Check date values in: |date= (help)
  4. ^ a b c d e SABA, MATTHEW D. (2012). "ABBASID LUSTERWARE AND THE AESTHETICS OF ʿAJAB". Muqarnas. 29: 187–212. ISSN 0732-2992.
  5. ^ Fatemeh Shokri, Atefeh Rezvan-Nia (28 September 2015). "Iran origin of Lusterware - Iran Daily". Gale General Onefile. SyndiGate Media Inc. Retrieved 26 November 2019.{{cite web}}: CS1 maint: url-status (link)
  6. ^ Darque-Ceretti, E.; Hélary, D.; Bouquillon, A.; Aucouturier, M. (July 19 2013). "Gold like lustre: nanometric surface treatment for decoration of glazed ceramics in ancient Islam, Moresque Spain and Renaissance Italy". Surface Engineering. 21 (Abstract): 352–358. doi:10.1179/174329305x64312. ISSN 0267-0844. {{cite journal}}: Check date values in: |date= (help)
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