Tear Catchers (?)Swan-Neck Glass Bottle, Iran, 19th c., gallery 462; Christie’s South catalog.
“It is unclear how bottles of this shape were used, though sometimes they are known as ashkdans and were supposedly for collecting the tears of wives whose husbands were away at war”. - MetText
It seems that the use of a tear catcher or lachrymatory bottle is probably not ancient nor even Victorian. More likely they are a romantic myth based on the “eye shaped” openings: The bottles hold funeral tears, and when they evaporate, the mourning period ends. No science here, but so beloved by enthusiasts of the Victorian art of mourning that they are sold and collected even now. Christie's sold two 18th c. bottles in 2014, very like the 19th c. bottle at the Met.
For tear enthusiasts, see https://tearcatcher.com/tear-bottles/tear-bottle-history/. “With each tear bottle, you will receive an elegant organza gift bag and a small story card that explains the intriguing history and meaning behind the tear bottle”.
Pilgrim Flasks
Pilgrim Flasks; Left: India or Deccan, early 17th c., gallery 463, Right: Turkey, early 17th c, gallery 469.
Unlike the tear bottles, these pilgrim flasks have a clear function, and appear in many regions and eras. These Islamic vessels were designed to collect and bring home holy water, sanctuary lamp oil or sand from a sacred site. Sometimes called a Zamzameyyah, because pilgrims took holy water from the famous well in Mecca called Zamzam. The word derives from Zomë Zomë, meaning "stop flowing" - a command repeated by Abraham’s wife Hajar attempting to contain spring water in the desert.
Pilgrim flasks (not on view): Left, Pasargadae, Iran, ca. 4th–3rd century B.C., Middle, Ctesiphon, Iraq, 8th c., Right, Iran, ca. 3rd c. B.C.–A.D.
These early ceramic versions are found in Islamic, Jewish and Christian cultures and are documented in the Crusades. The twin strap-eyed design has a marvelous continuity over millennia.
Parrots
Top: Finial in the Form of a Parrot, Northern India, 17th–18th century, gallery 464
Bottom and detail: Dagger with Zoomorphic Hilt (India, Deccan, Bijapur or Golconda), 16th c., gallery 463.
In Tutinama (A Parrot’s Tale) the parrot tells 52 stories to his owner Khojasta, to prevent her from having an affair while her husband is away. A mynah and a parrot are her guards. The wife strangles the mynah for advising her not to indulge. The parrot, realizing the gravity of the situation, narrates distracting stories over the next fifty-two nights: a more indirect approach.
I lived under flocks of these fine birds in Pasadena, CA and often woke to their extreme calls. I understand their assigned role as storytellers.
Textiles Underfoot
The Emperor's Carpet and detail, Iran, 16th c., gallery 462.
Ushak Medallion Carpet on White Ground and detail, Turkey, 17th c., not on view.
Part of Shah ‘Abbas’ (r. 1587–1629) program for restructuring the economy and attracting European merchants was the expansion of both the production and international trading of carpets. They were traded to Europe and the Far East where, too precious to be placed on the ground, they were used to cover furniture or hung on walls.
The legend of Sir Walter Raleigh putting his cloak on the ground - to help Queen Elizabeth I over a mud puddle - is part of the mystique of textiles underfoot.
Vermeer, Ram’s Horns and Hands on Hips
Full page and detail: A Maid Asleep, Johannes Vermeer, 1656-57, gallery 964.
Many carpets from the Middle East are today called by the names of European painters who depicted them: Lotto, Holbein, Ghirlandaio, Crivelli, and Memling.
Vermeer’s famous A Maid Asleep depicts two different seventeenth-century Anatolian carpets. Within the patterns, one can find classic Kilim symbols: The Ram's Horn - Kocboynuzu - the symbol of fertility, heroism, power and masculinity and Hands on Hips - Elibelinde - the symbol of motherhood and fertility.
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