Armenian dating system
Although the Julfa Armenian community was profoundly disrupted by such events, their existing international network which stretched from Lisbon to Canton was not unduly threatened; some families had even lived in Lhasa for over thirty years as the extortionist policies of Nadir Shah (r.1736-48) eventually undermined the prosperity of the Armenian merchants of Persia.Earlier generations of Armenians, as mentioned above, had already settled in several Anatolian towns not withstanding a large number in Istanbul.In this particular case, with the Islamic date equivalent of 1718 painted on the front rim, we have a date for the use of the blue and white flower spray pattern on its back. The polychrome dish in the Safavid group, which depicts the figure of the Archangel Michael receiving the soul of the dead man, is one of a series given to the Armenian cathedral of Saint James in Jerusalem by Vartabed Abraham in 1168-1718 according to the inscription (fig. The naïve style of painting appears to relate to the religious narratives on tiles covering some of the walls of the said cathedral.It has been suggested that the long tradition of gospel paintings in Armenian monasteries would have been a source for such narratives.This cone pattern migrated from Chinese export porcelain to late Safavid Persian wares as can be seen in the dish on figure 1(a particularly early example).
Besides normal trade, these families were to be responsible for the silk trade of the realm which brought prosperity to the country until the decline of the Safavid dynasty in the last decades of the 17th century and its fall to the Afghans in 1722.
In 1957 Arthur Lane simply wrote that ‘the [Kütahya] factories specialized in rather slight and trivial wares, with a side-line in tiles’.
There are over seventy pieces in the Victoria & Albert Museum, offering the possibility of studying the ceramic production of this relatively small Anatolian town on the Anatolian plateau, some hundred kilometres south-east of Bursa and Iznik.
Although 18th-century Kütahya ceramics have gradually begun to find their place in collections both in Turkey and the Gulf, little scholarly attention has been given to their unique designs and shapes.
There are over seventy pieces in the Victoria & Albert Museum’s collections, offering the possibility of studying the ceramic production of this relatively small Anatolian town on the Anatolian plateau, some hundred kilometres south-east of Bursa and Iznik.