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Four ivory panels with hunters and revellers.
A larger image of these four Fatimid ivory panels with hunters and revellers, 11th-12th centuries.
An alternative photo.
Hegira 5th-6th centuries / AD 11th-12th centuries, Fatimid
Ivory
The function of these panels with themes from princely life is not known, but the carving of hunters with hawks, musicians and revellers against a background of vine scrolls demonstrates the artistic quality of Fatimid ivory carving at its best and thus may be a ruler's commission for a palace.
Height: 41 cm; Width: 36.5 cm; thickness of the frame surrounding the figures c. 0.3-0.4 cm; thickness at the highest point of the relief c. 1.5cm.
Museum of Islamic Art at the Pergamon Museum, Berlin, Germany. (Museum für islamische Kunst, Staatliche Museen, Berlin.) Inv. Nr. I.6375.
Referenced as figure 156 in The military technology of classical Islam by D Nicolle
156. Ivory panels, 11th-12th centuries AD, Fāṭimid Museum für Islamische Kunst no. 1.6375, West Berlin.
Pole-Arms for cut and thrust by David Nicolle, an extract from The military technology of classical Islam
It is quite clear that the Berlin plaques were cut in order to be assembled into a frame, the form in which they now appear in the museum. According to the information available, they were assembled in this way in the 19th century and the museum, which acquired them in the 1936, has no record of their previous state.46 At the centre of the 19th-century arrangement was a 14th-century Venetian miniature, part of a double frontispiece of a marigola - the medieval Italian byelaws of a guild - that is now in Cleveland.47
Source: p 236, Contadini, Anna (2005) 'Fatimid Ivories Within a Mediterranean Culture.' The Ivories of Muslim Spain, The Journal of the David Collection, ed. by K. von Folsach and J. Mayer, 2 (2). pp. 226-247.
