سفال اسلامی

Old Qaen stands as a prominent city in Quhistan (South Khorasan), having undergone significant transformations during the Islamic period. Although the city is frequently mentioned in historical chronicles, accurate information regarding its ancient location has been sought through archaeological excavations. The analysis of pottery recovered between 2012 and 2016 by Rajab-Ali Labbaf has provided archaeologists with essential data concerning the founding and various historical phases of the old city of Qaen. The objective of this analytical research was to identify the pottery types present in the area, establish the settlement chronology, and examine its connections with other regions. To achieve this, 177 potsherds from the excavations were initially classified, and subsequently, 55 representative pieces were selected for detailed typological and chronological study. Research findings concerning pottery reveal that Qaen was established in the early Islamic centuries and persisted through the mid-Safavid period, with the Seljuk period identified as its most prosperous era. The quality of pottery produced in this region was on par with that of other notable pottery centers in Iran. However, the lack of golden pottery (zarrin fam), silhouette, and enamel (Mina’i) ware points to a shortfall in the expertise of Qaen’s potters regarding these types. Additionally, Qaen has established significant trans-regional links with regions including Khorasan, Sistan, and Jazmurian.

The Azak region in southern Russia, now known as Azo, played an active role during the Islamic Middle Ages in the Islamic lands. This city has been a port for the exchange of products of the Islamic territory to Europe. Accordingly, among the pottery pieces found, all pottery is one of the flagship pottery products of Islamic civilization. Archaeological excavations in this area have found artifacts that show its high importance in the Islamic realm during the 7th to 9th centuries AH. Iranian pottery include various types of pottery with the style of painting under glaze, painting on glaze, carved under glaze, among which, pottery known as “Kashin”, is predominant. Despite the fact that thousands of pottery pieces of Iran belonging to the 7th to 9th centuries AH have been found in this area, but no information about the pottery works of this area can be found in Iranian and Islamic sources. However, the study of these pottery can introduce new types of pottery of the Islamic period to researchers and play a key role in the typology of Iranian pottery in the middle Ages. Now, this research intends to study the pottery found in this city, based on field and library studies, during the archeological excavations of the Azo Museum, which are also kept in this museum. In this research, the following questions will be answered: What types of pottery are found in this city? What historical period do these pottery belong to? Based on this study, it was found that most of the pottery in Azak region belongs to the pottery known as “Kashin” style pottery that was produced in Kashan. After that, enamel and Luster Painted Pottery are in the next categories, which were also more than the products of Kashan. These pottery covers the period from the 7th to the 9th centuries AH, which is based on the studies of archaeologists of the Azo Museum in Russia.

An Insight into the Impressed Decorations on the Pottery from Zolfabad, Farahan, Iran Mohammadreza Nemati Research Institute for the Iranian Organization of Cultural Heritage, Handicrafts and Tourism Mohamadreza1973@gmail.com Esmail Sharahi Markazi Province Cultural Heritage, Handicrafts and Tourism Directorate sharahi.esmaiel@yahoo.com Ali Sadraei Situated 48 km north of Arak in the Farahan plain, Zolfabad is one of the largest archaeological sites of the Islamic period in the Iranian province of Markazi. It has been identified as a large rural settlement and a center for pottery manufacture in the vast plain of Farahan, spanning the 6th-13th centuries AH/AD 12th-19th. During the two seasons of excavations evidence on pottery production was recorded at the site. Among the attested vessels and sherds, the Ilkhanid material with impressed decorations is of particular importance in that they bear a diversity of floral and animal motifs as well as inscriptions. The present work represented an attempt to explore the correlation of these motifs with the related decorative designs from the pre-Islamic as well as the Islamic times, but also to study the Iranian archetypes on these pieces and their combination with the Mongolian-inspired motifs. The study built on both fieldwork and library research. Close affinities were observed between the motifs in the Zolfabad assemblage and those used in the pre-Islamic Iran, and the latter’s superiority to the designs inspired from Iran’s post-Islamic culture was corroborated. The case study of the impressed ceramic subunit from the site, which in light of the attested indications were produced locally, evince a continuation of the Iranian archetypal designs. Despite the dominance of the Islamic culture and the preponderance of the Shiite doctrine in the Ilkhanid Farahan, the impressed motifs on these ceramics reflect a wide application of Iranian symbolism and an imagery tradition enrooted in the pre-Islamic culture. Although due to the Islamic ideological tenets the earlier motifs were imparted new concepts, those in our study assemblage one does not discern a domination of the Islamic culture on the motif Repertoire except for a few islimis (arabesque) and khatays (floral patterns), which are among the most ubiquitous designs of the Islamic art. The patterns decorating the ceramics under study are by no means explainable by the Islamic culture and relate in every aspect to the pre-Islamic concepts. The same was true for the Chinese-Mongolian culture. In particular, in the wake of the Mongolian conquest of Iran the Chinese motifs to a certain extent step to a fore, but their representation in the Zolfabad assemblage is far inferior to the Islamic motifs. At any rate, the use of various motifs as specific symbols and the use of Persian script, etc. bear a testimony to the highly intensified importance the Ilkahnid residents of Zolfabad placed on the indigenous motifs and the deep connection of the local artisans and population with the rich pre-Islamic native culture. Keywords: Zolfabad, Impressed motifs, Ilkhanid period, Iranian culture. Situated 48 km north of Arak in the Farahan plain, Zolfabad is one of the largest archaeological sites of the Islamic period in the Iranian province of Markazi. It has been identified as a large rural settlement and a center for pottery manufacture in the vast plain of Farahan, spanning the 6th-13th centuries AH/AD 12th-19th. During the two seasons of excavations evidence on pottery production was recorded at the site. Among the attested vessels and sherds, the Ilkhanid material with impressed decorations is of particular importance in that they bear a diversity of floral and animal motifs as well as inscriptions. The present work represented an attempt to explore the correlation of these motifs with the related decorative designs from the pre-Islamic as well as the Islamic times, but also to study the Iranian archetypes on these pieces and their combination with the Mongolian-inspired motifs. The study built on both fieldwork and library research.

Less historical sites can be found in Islamic lands without incised through slip wares. This type due to the variety of its designs, motifs and comparative ease of the production, has been manufactured and used in the important Islamic pottery centers specially during fourth till seventh centuries of Hijri. This is why Researchers call it as “Traditional Pottery of Islamic Lands”. Researchers confess that Throughout the Islamic territory, either based on its variety the technique and Motifs and its quantity is unique in Iran. while the classifications are ineffective and are not based on scientific information so the present research tries to reconsider the method of construction and decorating this type of pottery on the one hand and the findings of the exploration of the sites and important centers for the production of pottery in Iran in other hands, suggests some classification, and comprehensive dating of this type based on ways of making this type of pottery, Studies have been conducted on this type in Iran how it can stablish a scientific manner and the interoperability for all pottery pieces and sherds in different sites. This research has been done in this field through the collecting of information in different Libraries and comparison and identification of the findings in Archaeological sites which related to this field. The research questions include: What classification can be considered for the type of Incised through slip ware (Sgraffiato) that can cover all the samples obtained from this type of pottery throughout Iran? Or in which centuries this type produced more or for how long has it been produced in Iran? The present study was conducted through collecting information via library and field studies of findings in this field. The results of this research indicate that the classification with regard to technical and decorative properties together can be the most comprehensive classification possible, and in this regard, three general decorative styles Introduced: Incised through slip with a few sub-styles, Champlevé, and combination style. Also, unlike the opinion of most researchers whom consider time of making this pottery is limited to the 4th-7th centuries A.H, now we know that this type of pottery was produced in Iran at least until the Safavid period. Keywords: Pottery (Ceramic), Incised Through Slip (Sgraffito), Excised-Slip (Champlevé), Splashed, Lead Glaze. Introduction Carved decoration is undoubtedly one of the most common methods of decorating pottery at all periods around the world. However, using of slip or engobe for covering dishes and pots also has a long history. This coating, in addition to the impermeability of the surface of the pottery and covering its pores and holes, has acted as an appropriate background for decorating such as painting, polishing, burnishing, and cutting the motifs. At the same time as the period of the proto writing (the first millennium B.C.) and the entrance of the Aryan to the Iranian plateau, due to the need for mass production and acceleration in decorating, the pottery was decorated with a carved decoration instead of painted pottery. The process of using of colored slips and carving on them continued in the historical period until the introduction of the Islamic era, the Iranian pottery industry, influenced by the cultural, religious and social new atmosphere, began to flourish. Factors such as influencing and applying the experience of artists of other nations, and the most importantly the using of the scientific potential of Muslim scholars, especially chemists, led to the progressive and gradual improvement of the quality and quantity of pottery industry in Islamic era especially in the fourth to seventh centuries AH. During this period, works and objects of pottery were produced and presented in a variety of types. This variation was particularly clear in glazed pottery, among which type of “Incised through slip ware” which was known among the archeologists of the Islamic era as “Sgraffiato”, was one of the most widespread, most used and diverse technologies. Less historic sites in the Islamic world can be found without the pieces of Incised through slip ware (Sgraffiato). This type of pottery was built and consumed due to its considerable diversity of design, pattern, color and comparative ease of construction, in the major fields of the pottery industry throughout the Islamic world, especially during the 4th to the 7th A.H. Therefore, researchers call it as “Traditional Pottery of Islamic Lands” so it is considered one of the most important types of pottery in the Islamic world. Researchers confess that Throughout the Islamic territory, either based on its variety the technologies and motives and its quantity is unique in Iran. Despite the rich history of this technology, during a century that has been studied with a number of studies, it has not been dealt with in a good way, and the present classifications for it have not been based on scientific principles from the outset and even all the pieces of ceramics have been obtained. Therefore, the authors have attempted to present a typology in this area with the aim of eliminating some of the shortcomings in the classification of this type of pottery in the field. The classification is the result of studying and reviewing of the available scientific and archaeological reports of major and main historical sites inside and outside Iran, which are in the cultural domain of Iran on the one hand, and considering the way of making and decorating in this type of pottery on the other hand. The questions raised in the current research are: What classification can be considered for the type of Incised through slip ware (Sgraffiato) that can cover all the samples obtained from this type of pottery throughout Iran? Or in which centuries this type produced more or for how long has it been produced in Iran? Data collection was done in library and field research, and the research method based on characteristics of the subject is descriptive-analytical methods. Main Part It has to be mentioned that the most important classification belongs to Arthur Upham Pope. He proposed three groups of Aqkand or Zanjan, Amol and Champlevé or Garus to rule the studies of this species. He laid pottery in museums and art collections which had not been obtained from scientific excavations as the foundations of each of the categories in his classification, so the origin of none of them was well defined and was provided by the dealers and traders of antique presented them in the cultural property market. The objects could only be accepted in the most optimistic aspect from Iran. Another weakness and defect of this classification was the use of heterogeneous terms for sub-collections, which sometimes referred to the region (such as Aqkand or Amol or Garus) and sometimes to technology (such as Champlevé) Therefore, relying on the style and implementation of decorative technology and in order to organize the study of the type of “ Incised through slip ware “and based on studies and related findings in different regions of Iran, we can have three general styles with sub-sections for Incised through slip ware or sgraffiato in Iran. Style 1- The Linear Incised through slip ware with four minor groups. This is the group with 4 subsets, which is the largest and most comprehensive style in Sgraffiato: The Linear Incised through slip ware with splash glaze, plain linear incised ware, linear incised ware with monochromatic coloring and linear incised ware with colorful coloring. This style is the largest and most comprehensive Stroke style. Style 2 - Excised-slip or champlevé. Style 3 – Combination of linear incised with excised through slip. Conclusion the Incised through slip wares as one of the most widespread types of pottery in the Islamic world requires general categories applicable to the major production centers. Furthermore, according to the temporal and spatial distribution of this type in Iran and its significant variation across the whole country, the classification conducted must be generalizable to all the different areas. Therefore, the Incised through slip wares of Iran are classified under three general groups of “The Linear Incised through slip”, “Excised-slip or champlevé” and “combined style” each of which has a few subgroups. From the point of view of the chronology of this type, Famous Scholars and researchers as Fehervari, Allan, Grube, Soustiel, or Schnyder they all believe that the Incised through slip ware or sgraffiato pottery and its subgroups in the Islamic lands has been extensively produced and distributed from the late third century to the seventh century AH. and it has been stopped producing at the same time as the Mongol invasion in 7th century AH. They also believe that manufacturing this type of pottery has been replaced by other types such as Lakabi or Silhouette in next centuries. However, recent research in some areas such as Andej or Fortress of Hasan Sabah both in Alamut area of Qazvin, based on studies of Forms of dishes and thermoluminescence dating experiments, confirmed that this type was continually produced in a large-scale by at least the eleventh century A.H. and the Safavid period, that is, several centuries after the time determined for its production. Therefore, the production of the Incised through slip ware or sgraffiato ware was not stopped at the same time as the Mongol invasion to Iran, but also continued in most of the major areas in Iran. Thus, the dating of this type of pottery in the study of the Islamic pottery needs fundamental changes and revisions.

Jundishapur is one of the towns with a rectangular plan, built by Shapur I in the north of the Kuzistan close to the Mansor River and like Bishapur, on one side is limited to the river, but here there is no fort and castle to protect the city. Archaeological studies in Jundishapur were carried out by mapping and aerial photography and systematic archaeological examination and a total of forty one point of occupation were identified. The abstract results of the index samples along with written sources made it clear that the establishment has continued throughout Christian centuries. The water flowed in the city from the Mansoor black harbor through the Jundishapur Bridge. Due to the decrease in water in the summer, a qanat was built in 14 km length from the Dez River to adjust and increase the water level of the Jundishapur River representing the efforts of Sasanians in the water supply system.

According to historical sources, Frime city has been in Tabaristan province, during the Sassanid and early Islamic centuries, including urban centers, which have an active role in the development of cultural Tabaristan. This city, the headquarters of the Tabaristan local dynasty that so called;Al-e Qaren and Al-e Bavand Predominantly as a small area of the historical town of Frimes , during the years 1385, 1387 and 1388 were archaeological excavations. The result of this excavations have been architecture, potteries and other cultural findings. The need to study the works of ceramics in the city , mostly due to further understanding of the chronology and sequence of indicator species were babies in the early centuries of the region, because despite the early centuries of Islamic sites ever scientific study on Islamic sites Mazandaran focused on classification, typology and comparative potteries from excavations took place.
According to historical sources, historical city of Ferim has been local capital of Al-e- Bavand and Al-e-Qaren. This city located one of the mountainous cities in Tabaristan Province. Based on Documentary evidences, Ferim has been important role in economic and social changes in early Islamic Period. Results of this research show that indicator potteries from Ferim that this site has been two major type of potteries: unglazed potsherds and glazed potsherds. Also, there is 12 subgroup from two main type. Most important motives from these types included carved and graffito motives. These motives respectively 87 % and 56 %. These motives used in early Islamic era. One of the indicator characteristic in early Islamic potteries has been Lack of intensity motives in centers of vessels and monochrome and opaque potsherds. Lack of lusterware and Minaei wares in Shahneshin site and extra production monochrome vessels will assign as middle class society without political and economic elite class. Majority of these potsherds included from sand and with high quality baking. This case show that society be aware to numerous production potteries. Comparative studies pottery types discovered from others urban centers there are similarity aspect between motives, coveting, in urban centers such as: Nishbour, bishapur, Gour, Darabgerd, Sarmashad, Jurjan, Sistan, Malin Bakharz, Daghyanoos, Sorkh Qale and Seymareh. Relative Chronology based on potteries evidence including to late Sasanid era until 5 century A.D. according to historical text and archaeological evidence has assigned as dynamic urban spaces such as Shahneshin site in Tabaristan province in 3 and 4 century A.D.
This study utilizes a descriptive analytical method and data collection documentary and field studies. Intended to provide relative chronology Shahneshin area is predominantly based on finding. Based on typological and statistical analysis of indicators and to making pottery historical context, established predominantly in the area of Shahneshin Frime , from the late Sassanid era began in the late fifth century AH. Glory period in this area has been third and fourth century AH.