Why are some old Omani mosques decorated with Chinese porcelains?
Published: 03:12 PM,Dec 12,2023 | EDITED : 07:12 PM,Dec 12,2023
For over 3000 years, China has been a renowned producer of ceramics, its trade expanding notably during the Han dynasty, especially from the 1st century AD onwards. The evolution of Chinese ceramics, particularly the advent of high-temperature-fired porcelains made from fine kaolinite clays around AD 600, marked a significant turning point in export history. By the 7th century, these sought-after objects were being traded in the Arab and Middle Eastern regions.
The infusion of Chinese porcelain into Omani mosques, particularly within the prayer niches known as mihrabs, represents a unique and captivating artistic tradition. While the practice of adorning mihrabs with ceramic dishes is not exclusive to Oman, the rapid proliferation of this artistic expression throughout the Omani interior in the sixteenth century holds immense significance.
Today, when you visit some sites in Izki, Manah, and Sinaw, you will still find these ornate Chinese porcelains adorning the mihrabs of some old mosques. Some of these ceramics also found their way to museums and speak of the strong relationship that ancient Oman shared with China.
During the sixteenth century, a resurgence in the highly elaborate design of decorating mihrabs emerged, reminiscent of Buyid/Seljuq antecedents and dating back to the thirteenth century. An exceptional example exists in Nizwā, dating back to AD 1252, showcasing a heavily stuccoed mihrab in this distinctive style.
This decorative revival, continuing into the early-nineteenth century in specific regions, coincided with the increasing insertion of Chinese porcelain bowls and dishes into the stuccoed framework. The inception of this decorative tradition traces back to the early sixteenth century, notably beginning with Masjid al-ΚAlī in ManaΉ in AD 1503–1504.
During this period, coinciding with Portuguese control over the Arabian coast and their dominance in long-distance trade within the Indian Ocean, questions arose regarding the influence of this newfound presence on the influx of Chinese porcelain into Oman. The Ming administration’s efforts to regulate foreign trade emphasized the use of silks, porcelains, and lacquerwares by Chinese traders, evident in the quantity of Chinese porcelain found at coastal sites such as СuΉār.
Surface findings from Manah and Sināw showcased consistency, with chemical analysis pinpointing Ming dynasty wares from Zhangzhou and Jingdezhen blue and white ceramics in ManaΉ, and Zhangzhou blue and white in Sināw, predominantly from the period around AD 1550–1650. Similarly, a discovery from Izkī was identified as Qing dynasty Dehua blue and white dating from AD 1650–1750. These findings coincide with a significant increase in Chinese exports and mark a distinct shift in the cultural landscape of Oman during that era.
The means of arrival of these Chinese porcelain objects in Oman remains a subject of inquiry. Were they brought in by Omani traders active in the Indian and southeast Asian coasts, dealing in high-value goods like horses, pearls, and incense? Or did the Portuguese introduce them to facilitate trade in Oman's interior, utilizing porcelain as a substitute for the silver required for Chinese markets?
The majority of porcelain surface findings in Oman date back approximately to the sixteenth/seventeenth century, continuing into the nineteenth century, suggesting a gradual transformation in the region's politico-religious climate. However, the elaborate mihrab decorations ceased in the mid-nineteenth century, seemingly correlating with the growing influence of the Wahhabi movement in peninsular Arabia.
As the Wahhabis extended their influence, Ibadi mosques, like Sulayf, started showing indications of this shift, particularly through the addition of projecting mihrabs. This transformation coincided with the decline in the ornate mihrab decorations that previously included Chinese porcelain, marking a fascinating convergence of historical and religious influences in Omani architecture.
The integration of Chinese porcelain into Omani architectural designs and its subsequent decline serve as a testament to the intricate interplay between cultural exchange, trade dynamics, and religious shifts in the historical fabric of Oman's heritage.
Taken from the studies titled 'Chinese porcelains and the decorations of Omani mihrabs' by authors Martin S Goffriller, Ma Hongjiao, Soumyen Bandyopadhyay and Julian Henderson
The infusion of Chinese porcelain into Omani mosques, particularly within the prayer niches known as mihrabs, represents a unique and captivating artistic tradition. While the practice of adorning mihrabs with ceramic dishes is not exclusive to Oman, the rapid proliferation of this artistic expression throughout the Omani interior in the sixteenth century holds immense significance.
Today, when you visit some sites in Izki, Manah, and Sinaw, you will still find these ornate Chinese porcelains adorning the mihrabs of some old mosques. Some of these ceramics also found their way to museums and speak of the strong relationship that ancient Oman shared with China.
During the sixteenth century, a resurgence in the highly elaborate design of decorating mihrabs emerged, reminiscent of Buyid/Seljuq antecedents and dating back to the thirteenth century. An exceptional example exists in Nizwā, dating back to AD 1252, showcasing a heavily stuccoed mihrab in this distinctive style.
This decorative revival, continuing into the early-nineteenth century in specific regions, coincided with the increasing insertion of Chinese porcelain bowls and dishes into the stuccoed framework. The inception of this decorative tradition traces back to the early sixteenth century, notably beginning with Masjid al-ΚAlī in ManaΉ in AD 1503–1504.
During this period, coinciding with Portuguese control over the Arabian coast and their dominance in long-distance trade within the Indian Ocean, questions arose regarding the influence of this newfound presence on the influx of Chinese porcelain into Oman. The Ming administration’s efforts to regulate foreign trade emphasized the use of silks, porcelains, and lacquerwares by Chinese traders, evident in the quantity of Chinese porcelain found at coastal sites such as СuΉār.
Surface findings from Manah and Sināw showcased consistency, with chemical analysis pinpointing Ming dynasty wares from Zhangzhou and Jingdezhen blue and white ceramics in ManaΉ, and Zhangzhou blue and white in Sināw, predominantly from the period around AD 1550–1650. Similarly, a discovery from Izkī was identified as Qing dynasty Dehua blue and white dating from AD 1650–1750. These findings coincide with a significant increase in Chinese exports and mark a distinct shift in the cultural landscape of Oman during that era.
The means of arrival of these Chinese porcelain objects in Oman remains a subject of inquiry. Were they brought in by Omani traders active in the Indian and southeast Asian coasts, dealing in high-value goods like horses, pearls, and incense? Or did the Portuguese introduce them to facilitate trade in Oman's interior, utilizing porcelain as a substitute for the silver required for Chinese markets?
The majority of porcelain surface findings in Oman date back approximately to the sixteenth/seventeenth century, continuing into the nineteenth century, suggesting a gradual transformation in the region's politico-religious climate. However, the elaborate mihrab decorations ceased in the mid-nineteenth century, seemingly correlating with the growing influence of the Wahhabi movement in peninsular Arabia.
As the Wahhabis extended their influence, Ibadi mosques, like Sulayf, started showing indications of this shift, particularly through the addition of projecting mihrabs. This transformation coincided with the decline in the ornate mihrab decorations that previously included Chinese porcelain, marking a fascinating convergence of historical and religious influences in Omani architecture.
The integration of Chinese porcelain into Omani architectural designs and its subsequent decline serve as a testament to the intricate interplay between cultural exchange, trade dynamics, and religious shifts in the historical fabric of Oman's heritage.
Taken from the studies titled 'Chinese porcelains and the decorations of Omani mihrabs' by authors Martin S Goffriller, Ma Hongjiao, Soumyen Bandyopadhyay and Julian Henderson