Umayyad Caliphate Ivory Pyxides: Symbols of Power
These ivory containers, known as pyxides, were used to hold perfumes and cosmetics. Their intricate carvings often carried symbolic meaning. For instance, the cover of a pyxis might be associated with a youthful heart, while the overall craftsmanship exalts the maternal dimension. These objects demonstrate exceptional technical quality, featuring canes with holes in the sides, shaped like flowers—a characteristic of the Halaf period.
The Pyxis of Al-Mugira: A Masterpiece of Ivory Carving
The **Pyxis of Al-Mugira**, dated 968 and currently housed in the Louvre Museum, is considered a milestone of ivory carving. This pyxis was a gift from Caliph Al-Hakem II to his younger brother, Al-Mugira, the son of Abd-al Rahman III, when Al-Mugira was 18 years old. It is the first dated evidence of a change in subject matter in these objects, being completely covered with intricate decoration.
The surface features a spatial distribution of four-lobed medallions, incorporating scenes set against a backdrop of acanthus leaves. Smaller medallions, also decorated with acanthus, reinforce the meaning of the larger ones. The iconography is strongly related to the concept of power.
The circular or lobed medallions are linked by knots, creating a cohesive design. This pyxis showcases a renewed iconographic program of political propaganda in service of the caliph, drawing inspiration from textiles originating in Persia, Syria, and Byzantium. This program involved selecting specific decorative themes with origins in the Eastern world, designed to legitimize the sovereign’s power. These themes became so standardized that they were used across various sumptuary arts, appearing in different media with the same imagery.
Iconography and Symbolism in the Pyxis of Al-Mugira
- One medallion depicts a full-frontal Eastern figure (pre-Achaemenid Persian), while another shows animal combat, with a strong animal (lion) attacking a weaker one (gazelle). This imagery refers to the sovereign’s power over his enemies.
- Another medallion portrays figures on a dais, representing a court scene. The figures are supported by lions, alluding to power. The central figure, smaller in size, plays the lute.
- To the right is a figure often identified as Al-Mugira, but more likely a retainer, indicated by the fan he carries. To the left is Al-Hakem, depicted in a stereotyped manner representing the caliph in majesty, emphasizing power without resorting to physical traits. This figure is rigid, hieratic, and frontal, identified by specific attributes.
- An axis runs through the body of the caliph figure, where a bottle is depicted, evoking a glass piece and referring to the World’s Cup or immortality—a symbolic element representing the power of the caliphate.
- Another element is a spike or stem ending in a flower, a symbol of plant fertility and the prosperity of the state court, often found in poetry.
The Pyxis of Aflah ibn Ziyad
The **Pyxis of Aflah ibn Ziyad**, housed in the Victoria and Albert Museum in London, bears an inscription indicating it was addressed to the prefect of police in Cordoba and is dated 970. It is one of the few pyxides with traces of polychromy, showing remnants of blue and red.
This pyxis maintains a similar decorative style but with some variations. It features three lobed medallions. One of them depicts a character on a palanquin atop an elephant, flanked by two servants guiding the animal. This scene represents the caliph in majesty, holding a vial that refers to the World’s Cup. The use of elephants in palatial ceremonies is reminiscent of the Abbasid world.
Another medallion features extensive decorative ironwork, with a small space below for the original hardware. The caliph is represented on a luxurious pallet, supported by eagles, which are symbols of power. The caliph, depicted in a hieratic pose, holds a flag or banner as a symbol of authority. One servant carries a sword, while another holds a small bowl used to spray the caliph’s hair.
The Caliph as Falconer
The final medallion represents the caliph as a falconer, engaging in the practice of hunting with falcons. He is shown on horseback, carrying a falcon on his hand. A hare is depicted in front, and a greyhound, which accompanied them in hunting, is shown behind. This tradition was adopted from the Umayyads.