سفالگری

With the spread of Islam in the Middle Ages and Iran’s strategic geographic position, interregional communications between Iran and other countries, including Egypt, expanded through trade routes, both overland and maritime. This expansion not only facilitated trade but also led to a significant migration of individuals between Iran and Egypt, fostering regional cultural interactions and exchanges. Pottery is one of the most important and abundant material artifacts in archaeology, and among the significant types of pottery produced in the Islamic Middle Ages is lustreware pottery. This type of pottery, due to its decorative nature and extensive use of intricate patterns in its decoration, has often captured the attention of people and served as a commodity for exchange. Therefore, by studying its iconography, one can discern the extent of cultural interactions between the two regions. This study, conducted through a descriptive-analytical approach using library sources and information from museums worldwide, aims to answer the following question: What similarities exist between Egyptian and Iranian lustreware pottery, and how can we justify the political and cultural exchanges between Egypt and Iran? The findings indicate that many of the patterns found on lustreware pottery in Egypt and Iran are similar, with some common elements resulting from two factors: 1) trade and 2) migration of potters to Iran. The production of lustreware pottery initially served as a luxury item influenced by political factors and tied to governments. Over time, it became accessible to the middle strata of society and enjoyed relative abundance. Therefore, the abundance of this pottery in a region reflects the commercial power and economic prosperity of the government.

Although Islamic artists were reluctant to represent living creatures in many decorative motifs, especially in the Islamic Medieval Ages, the script formed with human faces, animals, and mythical creatures remains a significant subject in the study of Islamic art and architecture. These scripts are mostly used in metalwork, but there are many examples in pottery decorations, especially in the early Islamic centuries and in Nishapur. So far, no research has been done on figural inscriptions, but researchers have addressed this field when working on other subjects such as talking tree, waq waq motifs, and some special objects. To our knowledge, Richard Ettinghausen’s classification and typologies of the figural inscriptions in the study of a container from the Cleveland Museum, known as the Wade Cup, are the strongest research in this field. The main issue in this article is the study of these inscriptions, regardless of whether they are considered as a kind of recreational scripts or a subset of waq motifs, and by looking at the formation, and thematic and temporal characteristics of the inscriptions one becomes more familiar with possible thoughts of patrons and artists. This study aims to accurately name this type of inscriptions based on the analysis of samples and their origin, themes, and various forms, which in turn helps to find out the reasons for using this type of script. Questions: What is the formal classification of figural inscriptions in non-architectural works at the time of study? What is the figural inscriptions’ meaning in art media such as pottery and metal, and is there a connection between the shape and the idea behind it? A descriptive-analytical approach has been used in this study. All the information was collected from library documents. The statistical population includes pottery and metal objects with figural inscriptions, from the early centuries to the seventh century AH in the Islamic world and the early European samples. Sample selection was done according to the 5 classifications presented in this article and also the introduction of new samples to help reach the research goals. Research results showed that figural inscriptions can be divided into five categories: 1- ornithomorphic, 2- human head, 3- zoomorphic, 4- a hybrid, and 5- animated inscriptions. Ornithomorphic and one of the zoomorphic inscriptions are among the early species, while animated inscriptions are evolved examples. In the study of themes, two main themes, including religious concepts and wishes and prayers related to good fortune, along with two sub-themes, including the signature and name of the artist and special poems were identified. As an interesting point, a correlation between the theme and the form was observed in several figural inscriptions, so that in the wishes and prayers related to inscriptions with the theme of astrology, the constellations with the concept of auspiciousness and astrology in the motifs were observed. Also, in the ornithomorphic inscriptions in Nishapur, a considerable number of vessels had the name "Ahmad" engraved in the center of the vessel. In our opinion, the name Ahmad was chosen as it is one of the Prophet Mohammad's names, and its combination with the bird-like design should be seen as a kind of correspondence between form and theme and the Prophet's ascension to the heavens. Both of these cases mentioned above, show a correlation between the form and theme and thoughts and ideas of the artists. In the Islamic field, due to the greater quantity, diversity, and the possible precedence of Nishapur specimens over the recently introduced specimens in Susa and Basra, Nishapur can be the origin of the use of such portrait inscriptions in the Islamic world. Based on the coins obtained in the Sabz Pushan area and the Tepe Madrasa, the production of these inscriptions in Nishapur dates back to the second half of the second century AH; to the time of the Samanids and most likely to the pre-Samanids.

Pottery of the Qajar era, unlike the architecture and tile work of this era, has been less studied by archaeologists and researchers of the art history of the Qajar era, and our information about pottery of the Qajar era is very limited compared to other periods of Islamic art history. Although some travelogues of this era refer to some pottery production centers in Iran, there is still no comprehensive information on pottery techniques and innovations in this era, as well as the main production and distribution centers of pottery in Iran during the Qajar era. During the renovation and restoration of the historical Ettehadieh complex in Tehran’s Lalehzar neighborhood, which was carried out in 2006 , a large volume of pottery from the middle of the Qajar era, especially the Naseri era (1264-1313 AH), was found and examined and classified in this research. Based on the data obtained, this research aims to answer what were the decorative features and pottery forms of pottery produced in Tehran in the second half of the Qajar era, and which group of pottery species and decorative patterns were repeated more in this pottery collection. As a result of this study, a wide range of glazes, decorative techniques, and pottery forms were identified, which are mentioned in the text of the article.Pottery of the Qajar era, unlike the architecture and tile work of this era, has been less studied by archaeologists and researchers of the art history of the Qajar era, and our information about pottery of the Qajar era is very limited compared to other periods of Islamic art history. Although some travelogues of this era refer to some pottery production centers in Iran, there is still no comprehensive information on pottery techniques and innovations in this era, as well as the main production and distribution centers of pottery in Iran during the Qajar era. During the renovation and restoration of the historical Ettehadieh complex in Tehran’s Lalehzar neighborhood, which was carried out in 2006 , a large volume of pottery from the middle of the Qajar era, especially the Naseri era (1264-1313 AH), was found and examined and classified in this research. Based on the data obtained, this research aims to answer what were the decorative features and pottery forms of pottery produced in Tehran in the second half of the Qajar era, and which group of pottery species and decorative patterns were repeated more in this pottery collection. As a result of this study, a wide range of glazes, decorative techniques, and pottery forms were identified, which are mentioned in the text of the article.

The traditional and native pottery and making pottery of Jirdeh Shaft, Gilan, and Burjak, Khomein have been linked with its people's life from far past. Jirdeh rural district is a village located in the central part of Shaft of Gilan province and the nearest village to the center of Gilan, Rasht city, and Burjak is a village of Chahar Cheshmeh rural district, Kamareh district of Khomein city, in 140 km from Arak city in Markazi province.
Since the main producers of pottery in both villages are women artists whose hands are the most important tools of their work, this study identifies the similarities and differences between the pottery of the two villages and also gets acquainted with the women potters of the villages, raw materials, construction methods, engravings and decorations , the form of potteries and local tools for making potteries.
'Attieh Roshanfekr' is an artist lady from Jirdeh Shaft Village. This 62-year-old artist has continued her ancestral art after 26 years. She and other women artists of Jirdeh create a work called "Gamaj and Nokhoon" with a very basic and simple tool which is considered by domestic and foreign tourists. Gamaj, as the best and most basic cooking utensil, is still produced by the people of Gilan and used for culinary or decorative purposes.
The traditional pottery and making pottery in Burjak village also belong to the women of the village. Ms. Hamzeh Lou, a 77-year-old woman from Burjak village was able to revive the art of "Burjaki Doogooleh" and expand the knowledge and method of making pottery without wheel in the village, and to turn Burjak into the "Burjaki Doogooleh" hub of Khomein and the country. 
Jirdeh soil is the most suitable for making pottery in the region and has the most flame-resistant soil compared to other places. For this reason, Jirdeh is called the pottery hub of Gilan. There are two points from Burjak village, called "Gel Eshken" which is also named broken mud, that the soil is suitable and desirable to make pottery, these hills are near the village. 
The decorations used in Burjaki potteries are: wick-shaped, triangle, circle and semicircle, plait, zigzag and linear, and in some cases goat pattern. Burjaki pottery is decorated on the raw clay body before baking, which is one of the most common decorative designs on pottery. But the motifs most often used to decorate pottery are lines that are probably drawn from the boundaries of agricultural lands and waterways. The engraved method was also seen that is still used. Sometimes the motif of a goat with long horns is created on the pottery body. The symbol of the ibex used in the petroglyphs of Teymareh Khomein is one of the most widely used and important pottery motifs. Jirdeh pottery is also decorated on the raw clay body before baking, and of course glaze plays a major role in decorating the pottery.
The present study, which has been done comparatively and using field and library studies, shows that in the two villages, pottery products are created without the use of pottery wheel technique, very simple and sometimes with basic decorations and native motifs in circular, elongated, cylindrical and flat forms; Features that indicate the cultural antiquity of each of these villages. On the other hand, due to the blending of village life with nature and the influence of the ancient tastes of the ancestors, they display their art in this way. And most importantly, the women potters of the two villages are creating similar art that is unique at the same time and that they have tried to preserve their traditions for countless years. The difference between the pottery of the two villages is due to the individual tastes and differences, the interests and beliefs of the potters, as well as the cultural and geographical features of the environment.

the present essay aims to study, respectively, the significance and use, as well as techniques of making different types of glazes and ornamentation of wares and tiles according to a treatise by ʿAlī-Muḥammad Isfahānī, the renowned potter of Ḳādjār era. Although glazed ceramic wares of this era were mostly under the influence of the imported wares from Russia, China and Europe, and their market was not as thriving as that of the tiles, remained samples demonstrate that works of this period enjoyed some delicate underglaze, overglaze and lusterglaze techniques with fritware and clay bodies. Accordingly, such works are considered successful examples in terms of quality. The results of this essay show that despite the common belief in the stagnation of pottery in Ḳādjār era, the techniques concerning glaze and body making evolved to a great extent and yet we witness that some sort of evolution takes place in color variety and underglaze painting technique. The most significant technique in the wares and tiles of the Ḳādjār era is underglaze painting with transparent watercolors. Here, colors are of a wider palette in compare to Safavīd era, including new ones such as red, pink, orange, greens and purple.

Pottery and textile weaving were two art media during the Seljuk and Ilkhanid periods, which one or sometimes both were considered important according to circumstances. Numerous studies have been carried out on pottery and weaving in the Seljuk period, and in some cases the evidence left over from that time has been reviewed in a comparative method to determine to some extent how these works were influenced by other fields. In some cases, evidence suggests that artists modeled on designs used in other industries, and they embellished their work on this basis. The present study has been done by using a comparative-historical methodology and the information gathered from library sources and by referring to related data, as well as a visual study of the Seljuk pottery and a sample of brocade textile from the Ilkhanid period preserved in the David Collection, Denmark. This textile is similar in terms of form, pattern, color and geometric divisions to the mina’i ware and luster-glazed bowls produced in Kashan. This study examines such interactions by thoroughly examining the patterns and similarities of the mentioned textile sample and pottery of the Seljuk period. It is to answer the following question: Which of the arts of pottery and weaving has had more influence on the other?
There are some examples regarding the effect of textile patterns on pottery, especially in the early Islamic period, but in later centuries, pottery reached such a great place and independence that affected textiles; and its patterns and structure inspired the art of weaving. The results of this study show that with regard to the color of the Ilkhanid textile, the weaver had used gold and silver threads, i.e. brocade, to perform and manifest the beauty of luster-glazed pottery on the fabric. In observing the geometric divisions and in the general composition of the designs, the work has also been executed like pottery. It seems that the form and structure of this textile, which is circular, is taken from that of pottery medium. Using circular composition and concentric circles, as well as emphasizing on the middle section, which according to the type of the characterization and other elements of the work represents the narrative state of a particular subject, this work sounds fairly similar to the mina’i and luster-glazed ceramic plates once created by the Seljuk artisans.   
Inscriptions of invocation and those of good wishes were used in that time on ceramic ware, and in this piece of textile such inscriptions are used on the last outward section of the work. Furthermore, the presence of mythical animals such as sphinxes among other creatures and the lush nature with fish ponds are elements often depicted in the Seljuk pottery. The assertion of such influence from pottery ware is not accidental and it seems that Seljuk pottery had been a good source of inspiration for this textile.
On the whole, the general composition and use of usual patterns in luster-glazed and mina’i pottery has caused a successful adaptation in the design of the mentioned textile. Other examples of this field are less considered by researchers and should be further studied.

Iran and China as two great and ancient civilizations, one located in the East Asia and the other in the West Asia, have historically had broad and longstanding ties. These two countries were connected through the famous overland Silk Road before the advent of Islam and after that through seaways, and their relationships in three significant areas of business, religion and politics can be studied. These relationships and the commercial ties between two countries have had a profound impression on their arts in the history. The study of these interactions reflects the influence of China's art on Iran, but impacts of Iranian culture and art on China have not been well expressed or even have been ignored. These influences in both pre-Islamic and post-Islamic Iran are visible, but it must be said that the influence is more pronounced in the Islamic era and more documents and more works from this period have survived. In this article, using a historical-analytical method, we try to study the quality of the influence of Iranian art on Chinese art through the study of ancient historical resources and observation of the remaining art pieces from two civilizations of Iran and China. According to the results we can say that the Iranian art has influenced china's art, especially its pottery in the different periods. By studying Chinese pottery, we can see Iranian art’s effects in three aspects of: form, glazing techniques and motifs.

Abstract: Gonabad has a history of pottery that refers back to at least three thousand years ago where it followed the same tradition as in other contemporary centers. Mend pottery became popular as an emerging phenomenon in the late eleventh Hijri century using different materials and decorations which was similar to pottery in Yazd and Shareza, Isfahan. It has somewhat been influenced over time by the environment. Predominant use of warm colors and cheerful traditional designs has made Mend pottery attractive to both the public and the artistic community. The paper aims to focus on Mend pottery regarding the following questions: 1- What are the materials and techniques of pottery in Mend? 2- How is the coloring and glazing in Mend pottery? And 3- How are the designs used in Mend pottery? Data is collected from images, reports, and interviews as well as library notes. In this regard the archaeological researches conducted, historical information summarized, and conclusions obtained from previous analyses have been used. The main body of the article concerns how to prepare clay materials, designs, and glazes. The most striking feature of Mend pottery relates to the decorative elements taken from nature. The elements can be categorized into four groups: human, animal, plant, and geometric which testify the rituals and beliefs of ancient Iranian origins of the images.

The study on pottery in the village of “Mend Gonabad” and the city “Shahreza in Isfahan,” is important traditional active centers of pottery in East and Central Iran. The use of traditional production methods and the drawing methods according to the cultural originality of these areas has provided pottery the possibility of comparative study of these two centers. The purpose of this study is to identify the impact of patterns and designs on the achievement of specific procedures set up in these areas pottery. With this approach, the research has raised these questions. 1- What are the characteristics Potteries in Two pottery center “Mend Gonabad” and “Shahreza “? 2- Which is Matching indicators in the production and pottery designs “ Mend Gonabad “ and “Shahreza “? This research using descriptive and analytical methods with a data collection methods by conducted field and library. In the data analysis, interviews ringmaster potters, two pottery centers, nature regions and beliefs potters are considered. The authors believe that a certain practices in potteries design of these two center is common, hence variety of drawing methods and practices to achieve a specific style, has been considered and analyzed. Several researches are indicated, there are a lot of similarities in the mode of production, apply glaze and etching on two Potteries centers, trying to achieve a airframes known as the “stone-paste” and the spread of painting under the glaze with a variety of designs in both center is index. In the style designed pottery also features native pottery is lead to discrimination and the creation of a particular style design. The most important characteristic is the outlining of accurate and elegant motifs in Potteries “Shahreza “ that is somehow reminiscent of Persian painting. As well as freely Application and creatively drawing and coloring away from framework of the plan in Potteries “Mend Gonabad” is determined a special style.