Description
This Rare underglaze-painted pottery tile, signed by al-Fakīr Mūsā ibn Istifan and dated 1699, originates from Aleppo (Halab), Ottoman Syria. It belongs to a rare group of Christian icon-style ceramic tiles produced in Aleppo at the end of the 17th century, reflecting the city’s rich multicultural artistic environment. Comparable works by the same artist are preserved in major collections, including the Louvre Museum.
The tile depicts the Biblical story of the Golden Calf, found in the Book of Exodus, Chapter 32. At the centre, a haloed figure with raised arms represents Moses confronting the Israelites after they turned to idol worship during his absence on Mount Sinai. Before him is an altar bearing the Golden Calf, with smoke rising from a sacrificial offering. To the right, the Israelites are shown in acts of devotion towards the idol, emphasising the severity of their transgression.
Meaning of the Narrative
The image conveys one of the most significant moral lessons in the Old Testament:
- Condemnation of idolatry and deviation from true faith
- Moses as the defender of monotheism and divine law
- Temptation, disobedience, and the need for repentance
A Story Shared Across the Abrahamic Faiths
This narrative is not only central to Judaism and Christianity — it is also recognised in Islam. The Qur’ān recounts the episode of the Golden Calf, affirming Mūsā (Moses) as a major Prophet and condemning idol worship. While the core message remains the same, Islamic tradition differs in one important aspect: Hārūn (Aaron) is not blamed for creating the idol; instead, a man named al-Sāmirī misled the people during Moses’ absence. This shared story across three religions strengthens the tile’s cross-cultural and interfaith significance.
Cultural and Artistic Context
Aleppo, under Ottoman rule, was a vibrant centre of Christian craftsmanship known for its icon painters and ceramic workshops. Tiles of this type were likely created for Christian homes, churches, or devotional settings. The composition blends:
- Eastern Christian iconographic tradition
- Local Syrian artistic expression and palette
- Ottoman-era ceramic decorative style
The signature of al-Fakīr Mūsā ibn Istifan connects the work to a documented Aleppine Christian workshop that adapted traditional iconography to the medium of ceramics. This synthesis of religious imagery and regional artistic practice highlights Aleppo’s diverse and interconnected cultural identity at the turn of the 18th century.