Continuity of Motifs in Silver Dishes of Sassanian era on Nishapur Pottery Designs in Samanid Period

Manufacturing metal and earthenware objects, is important for human being since the prior ages of history up to now. Because these type of art are epitomize of Believes, Myths and is the reflection of ideology of civilization circles and arena of meaning and immortal glory of human cultures.These work’s motifs are explanatory of physical and spiritual heritages which these arts have been grown in that area and settlement. In the other words, in manufacture, polish and decoration of these dishes, we can recognize economic improvements, historical challenges and social condition behind of artistic effects of them. We can see salient maturation in various types of arts, especially in make and polish golden and silver dishes, which are infusing of ulterior cultural and artistic ages and also Islamic ages.Reason of these purports transfer, from Sassanian art to Islamic art, is the presence of Sassanian non-Muslim artists and Samanian new- Muslims in Nishapur. In Islamic prior centuries, because of embargo of golden and silver dishes, pottery art became more important and value and artists, renewed the valuable motifs of metal dishes of Sassanian age by preservation of scholar values on porcelains of Samanian age, in the full beauty and nicety. The hypothesis that we are testing that, in analytical essay, is compliable in a manner that motifs, formed on potteries of this age, is continuity of the same figures on golden and silver dishes of Sassanian age in Islamic age which this time is in divine and spiritual space with religious thought and consideration to Iranian civil qualities and natural cultures, eager to freedom of hegemony of Arabian regimen on renewed Iranian- Islamic art arena. Of course, creativity, the spirit of innovation and construction in art of this age cannot be decreased as an imitation and mere adoption of the past generations heritages. Although Samanian age is the newborn thought age, civil creation and Iranian art’s glory, which is formed by motive of Islamic gratefulness, benevolence and aesthetics, Iranian Renaissance in the Islam frog. Method of concepts adjustment is analytical- historical and descriptive and the method of subject collection and applied data in the essay is librarian.