1.3.02026-08-09tile panelRådata3300335objektStatens museer för världskultur - MedelhavsmuseetSMVK-MMFöremålhttp://kulturarvsdata.se/SMVK-MM/objekt/3300335S.N. I 0032A rectangular panel composed from square tiles painted with a polychrome decoration on a white ground and assembled to make a niche motif. Through horse-shoe shaped niche on columns and capitals, there is an arabesque-like pattern developing from a vase put in a bowl and the floral composition fill the whole surface under the niche. Over the arch, scrolled vegetal motif. Mounted in a wooden frame.S.N. I 0032, Complete, L. 139 cm, W. 73,5 cm., The rectangular panel is composed of square tiles dominated by a white and brown horseshoe-shaped arch (mihrab – prayer niche) with a yellow half-moon on it. The arch is supported by two columns, decorated with a zigzag pattern in turquoise, opaque yellow and light blue, each standing on a base and with a capital. A dense, symmetrical floral design fills the area under the arch emerging from a large footed bowl supplemented by a second smaller one and a vase above. The bowl is flanked symmetrically with cypress-like trees with half-moons on the top and two birds beside the foot. Two other birds are shown on the rim of the large bowl from which also spring two sprays of flowers. From the centre of the vase a fantastic composite-blossom emerges with the stems of other flowers on its point. The sprays of flowers growing out from the stems of the central axis fill the field within the arch. Two sprays with blossoms like carnations and peonies and two serrated-edged leaves in combination with sprays of white flowers take up the remaining area under the arch. The spandrels are symmetrically filled with half-palmette motifs and scrollwork in reverse against a blue background. Although the potters used a standardised repertoire of decorative elements such as the mihrab, vase motifs and symmetrical composed flowers, the decoration of these tile panels is individual. In the AH 11th and 12th / AD 17th and 18th centuries, faience (glazed coloured earthenware) became the dominant element of Tunisian architectural decoration. After a first firing the tiles are covered with an opaque white tin glaze. The mineral pigments used for the polychrome decoration are applied over the dried glaze. In a second firing, glaze and pigments are melted together. The colours used – antimony yellow, copper turquoise, cobalt-blue and manganese brown – are typical for faience, suitable for withstanding high temperatures. Source: [https://islamicart.museumwnf.org/database_item.php?id=object;ISL;se;Mus01;11;en&cp] How date and origin were established: This tile panel shows close similarities to panels made by a faience atelier working from about the mid-12th–mid-13th / mid-18th–mid-19th centuries. How Object was obtained: There is no information about acquisition. How provenance was established: The style of decoration was characteristic of ateliers in Tunis. Source: [https://islamicart.museumwnf.org/database_item.php?id=object;ISL;se;Mus01;11;en&cp] , https://islamicart.museumwnf.org/database_item.php?id=object;ISL;se;Mus01;11;en, Islamisk konst, Islamisk konst - Showcase 08UrsprungAfrika, Tunisienhttp://kulturarvsdata.se/SMVK-MM/Photograph/3923706http://kulturarvsdata.se/SMVK-MM/exhibition/3953677http://kulturarvsdata.se/SMVK-MM/exhibitionpart/3953897https://islamicart.museumwnf.org/database_item.php?id=object;ISL;se;Mus01;11;enhttp://kulturarvsdata.se/SMVK-MM/objekt/html/3300335http://kulturarvsdata.se/SMVK-MM/objekt/xml/3300335http://kulturarvsdata.se/SMVK-MM/objekt/rdf/3300335