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Metalwork
From the 13th-century metal craftsmen centred in Mosul influenced the metalwork of the Islamic world (but also beyond just the Islamic, extending from Northern European kingdoms to the domain of the mongols), from North Africa to eastern Iran. Under the active patronage of the Zangid dynasty, the Mosul School developed an extraordinarily refined technique of inlay—particularly in silver—far overshadowing the earlier work of the Sāmānids in Persia and the Būyids in Iraq.

Mosul craftsmen used both gold and silver for inlay on bronze and brass. After delicate engraving had prepared the surface of the piece, strips of gold and silver were worked so carefully that not the slightest irregularity appeared in the whole of the elaborate design. The technique was carried by Mosul metalworkers to Aleppo, Damascus, Baghdad, Cairo, and Persia.

Among the most famous surviving Mosul pieces is a brass ewer inlaid with silver from 1232, and now in the British Museum, by the artist Shujā’ ibn Mana. The ewer features representational as well as abstract design, depicting battle scenes, animals and musicians within medallions. Mosul metalworkers also created pieces for Eastern Christians. A candlestick of this variety from 1238 and housed in the Musée des Arts Décoratifs, Paris, attributed to Dà’ūd ibn Salamah of Mosul, is bronze with silver inlay. It displays the familiar medallions but is also engraved with scenes showing Christ as a child. Rows of standing figures, probably saints, decorate the base. The background is decorated with typically Islamic vine scrolls and intricate arabesques, giving the piece a unique look.