Physicality and Context
Pixides are known as luxury personal vessels given to members of the royal family and are thought to have been used for holding precious gems, jewelry, aromas, perfume etc.; however, the actual purpose of the pyxis of al-Mughira is unknown because there are no traces of any substance on the interior. Though the entire surface of the pyxis is intricately and expertly carved with different forms of decoration, most attention lies within the four main medallions around its diameter. The exterior of the pyxis is elaborately carved and incised elephant ivory, imported by the caliph from North Africa. It is possible the pyxis was originally inlaid with gold and silver but only traces of jade remain. Though discovered with metal hinges mounting the lid on the container, it is believed (and clear) that the mounts were placed later than the original creation date because no space was allowed for the metal mounts to be placed. This is known because the hinges destroy part of the inscription. Due to these mentioned uncertainties, it is unclear how the lid was intended to be situated on the vessel and thus unknown how the inscription should be read, what is considered front or back and what its relation is to the scenes below.The Medallions
Medallion One displays a scene of two men gathering eggs from falcon nests, which is popularly seen as a symbol for Umayyad power or legitimacy. Scholars have claimed that the synchronism between the falcon and Umayyad power was a current and strong symbol due to such metaphors found in poetry and art during that time period. In particular, ‘Abd al-Rahman I al-Dakhil, founder of theInterpretation Controversy
Scholars like Renata Holod argue that the pyxis was a present given to al-Mughira with an ironic, comical edge as a reminder to him that he would never be the next in line for rule. Holod also suspects the gift was not from the caliph or commissioned by al-Mughira; however, scholars like Makariou who refute this claim argue that it would be difficult for someone other than royalty to commission such a highly expensive item and to solely focus to a purely ironic message does not lead anywhere.Makariou, “The al-Mughira Pyxis,” 318 Makariou’s arguments also conflict with Prado-Vilar, who focuses solely on the pyxis as a vessel of serious warning to al-Mughira in regards to any political goals he may have had; however, Makariou contends that this argument shows lack of knowledge in regards to medieval caliphate customs and that it was not in the nature of the caliph to be so seriously concerned with internal power struggles. The actual purpose of the pyxis of al-Mughira is highly argued and unanimously unknown. We do know the caliphate of Cordoba was infamous for their ability to acquire highly expensive and luxurious materials for their royal court. And because of their power, capabilities and secrecy, they maintained a singular and exclusive relationship with Northern Africa; a trading agreement no other dynasty was able to access. Ivory, a valuable and hard to work with material, was one of the many ways they displayed their wealth and power; however, using these capabilities to create the pyxis of al-Mughira is widely seen as wasteful and mediocre because of its leisurely context indicated by the assortment of princely entertainments on its exterior; however it is a vessel of impeccable craftsmanship and expert design. To date the pyxis of al-Mughira’s purpose is still speculated and debated. It is currently a part of the Islamic Art collection at theSee also
* Pyxis of Zamora *Notes
References
*Baer, Eva. The Human Figure in Islamic Art: Inheritances and Islamic Transformations. Costa Mesa: Mazda Publishers, 2004. *Borrut, Antoine, Paul M. Cobb and Sophie Makariou. Umayyad Legacies: Medieval Memories from Syria to Spain. Boston: Brill, 2010. *Dusinberre, Deke and Gilles Plazy. Paris: History, Architecture, Art, Lifestyle, in Detail. Paris: Flammarion, 2003. *Dodds, Jerrilynn. The Art of Medieval Spain, A.D. 500-1200. New York: Metropolitan Museum of Art, 1993. *Fayard, Judy. "Under the Magic Carpet: The Splendor of the Louvre's Department of Islamic Art." Wall Street Journal Online, (Sep 27, 2012), accessed February 10, 2012, https://www.wsj.com/articles/SB10000872396390444180004578018403267097568. *Makariou, Sophie. "The al-Mughīra Pyxis and Spanish Umayyad Ivories: Aims and Tools of Power" In Borrut, Antoine and Cobb, Paul M. (eds.) "Umayyad Legacies: Medieval Memories from Syria to Spain", Brill, 2010. pp. 313–335 *Rosser-Owen, Mirriam. “The Metal Mounts on Andalusi Ivories: Initial Observations.” In ''Metalwork and Material Culture in the Islamic World: Art, Craft and Text'', edited by Venetia Porter and Mariam Rosser-Owen, 301-316. London: I.B.Tauris, 2012. *Prado-Vilar, Francisco. “Enclosed in Ivory: The Miseducation of al-Mughira.” Journal of the David Collection, no. 2 (2005): 138-163. {{refend Arabic art Ivory works of art Islamic art of Spain 10th-century sculptures 968 10th century in Al-Andalus Islamic art of the Louvre