The presented golden ceramic bowl, dated to the 7th century AH (13th–14th centuries CE), is made of stone (vitreous) paste. It has a deep shape, a flat rim, an elongated profile, and a high, round, concave base. The bowl is decorated with inscriptions both inside and outside.
The object measures 20 cm in diameter at the rim and 9 cm in height. It is currently housed in the National Museum of Iran in Tehran. The main ornamental focus is centered on two ladies looking at each other and conversing. Their heads are inclined toward each other, creating a sense of emotional intimacy and warmth. The faces are depicted as serene and moonlit, rendered in three-quarter view with elongated eyes and open heads.
Around these central figures, the artist densely placed a rich array of motifs, including birds, flowers, leaves, arabesques (islimi), intertwining lines, and peacock-eye patterns, filling the circular space. The background and the patterns on the clothing are so intricately interwoven that they merge into a single entity, leaving no empty areas due to the high density of the decoration.
The continuous movement of the viewer's gaze—from the rim bearing Persian verses, to the interior space of the bowl, then to the gazing figures and the flight of birds—forms a dynamic interaction between stillness and movement. The harmonious combination of three elements—calligraphy, human figures, and nature—lends this composition a unique visual synergy, enriched by spiritual depth.
Inside the bowl, two inscriptions are visible in white script on a brown background: one on the rim and another slightly below it. The content of the inscription on the rim includes the following Persian verses (parts of which have been restored due to damage): 'I brought your love into the very heart of my soul; With it I brought all my existence. Finally, I raised my head above the world, While [I did not place your love at the head] of the world. O you whose counsel torments me all year, Freed from me, yet rejoicing to feed on my sorrow—You said you would no longer violate my fidelity; But this same failure of yours lies upon my neck. May the Creator of the world preserve Where ever the owner of this [bowl] may be. (The second half-stanza is repeated)'.
On the inner edge, there is an inscription in Arabic that repeats the inscriptions from the outer edge (largely lost), as well as the following Persian quatrain: '[The servant] suffered deeply in his soul because of you; Be it heart or eye, both turned to blood from your sorrow. In the stony heart, O idol, and in complete dryness, There is none like you—[if the eye fell] at your feet in the dust.' Furthermore, the exterior surface of the bowl is also decorated with two inscriptions—one executed in decorative Kufic script, and the other in Naskh script, containing Arabic poetry.
Prii Malik, who was a curious girl in childhood, inclined to asking questions, writing poems, and telling stories, achieved stability in adulthood by getting a job and settling in Australia. Nevertheless, she felt an inner incompleteness.
At the age of thirty, she decided to abandon this certainty and dedicated herself to working as a poet. Alongside building the life she desired, Prii realized that her marriage no longer matched the lifestyle she wanted. Despite condemnation, gossip, and pressure, she chose divorce.
After remarrying, she faced another heavy loss when a routine examination revealed that her child was not in place. This grief deeply shook her, and fear affected her next pregnancy. However, when Prii finally spoke openly about her miscarriage, women around the world began sharing stories they had long kept secret.
Today, Prii uses poetry to give voice to the grief, love, and battles that many women experience in silence. Her story serves as a reminder that breaking stereotypes changes not only one's own life but can also give others the courage to reclaim their lives.
The first print issue of The National newspaper is now available in retail stores across South Africa, marking the official launch of the publication into the country's print media market.
The launch of the print version runs parallel to the newspaper's digital platform, thereby adding a new product to an industry that is undergoing significant changes in how South Africans consume news.
The National informed readers in a statement that 'the printing presses worked late at night while South Africa slept.' The publication emphasized: 'For the first time, The National was printed, and today, when you wake up, the first paper copy of The National will be waiting for you.'
The newspaper stated that it decided to launch a print edition during a period when 'journalism is under pressure' and 'trust is fragile.' Its approach will focus on thorough reporting, fact-checking, and asking difficult questions to those in power.
The publication noted that it takes courage to believe in the importance of meticulous journalism, the necessity of pre-publication verification, asking tough questions to those who hold power, challenging conventional views, and paying attention to voices that might otherwise go unnoticed. Furthermore, it is important to recognize that the accuracy of the presentation is more important than its speed.
The Publication declared its intention to provide readers with journalism focused on a deep understanding of events and issues that go beyond the daily flow of information. The newspaper believes that while news is abundant, it is harder to find journalism willing to stand by its claims. It aims to become a place for readers, a refuge from the noise, where they can understand what is happening in the world.
For those planning to upgrade the monitor of their gaming equipment, this is an opportune moment to take advantage of the offers. Three monitor options featuring high refresh rates, very low response times, and synchronization technologies that provide significant improvements during gameplay have been gathered. The promotions are currently available on Amazon.
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