Presenting and Studying the Blue and White Pot with Chaharbagh Design of Arg-e Bam Complex

Pottery is considered as the most abundant and important industrial productions of human rather than meeting material needs, sometimes played the role a media. One of the issues often accepted about the human, specially in Asia, is to consider the natural events and phenomena and especially green space surrounding the human, because of poor nature which has created complex climatic conditions to his life. Therefore, the short green season and creatinggardens is changed into a desired mean and continuously a supreme place is considered. Asian human settlement tried to claim the importance of this mean in biologic structure in various forms. It become public on pottery, a good role creating architectural works, gave a good place to book arraning and become public role of carpet weavers and poetic works such as Boostan and Golestan was given; and finally it changed into the form of musical works such as “Chaharbagh”, “Bagh-e Ardeshir” and etc. one of the most important methods of Iranian garden arrangments is “Chaharbagh” various samples of which is identified. This theme is presented in applied arts and pottery objects in prehistoric and historical periods. Based on this necessity, the present research has tried to study this. Design in some of “Blue and White” post of Arg-e Bam is Safavid period which Chaharbagh type is an alternative in architecture design. The main question focuses on this subject that what relation is there between pot themes and garden arranging. The research method is analytical descriptive. Findings are collected by field and document method.the findings of this research show that apart from presenting Chaharbagh, the potter artist sometimes exhibit middle palace as nine part that is famous as “HashtBehesht” in architectural literature. This part of pot themes recalls us the samples of Isfahan “Hasht Behesht”, Behshahr “BaghCheshmeh”, Kashan “Bagh-e Fin”, “Chehelsotun” in Ghazvin and Arg-e Bam building in Arg- e Bam. In spite of main limitations such as exploiting only blue and whitecolors that is necessary in pottery technique, our findings are comparable to carpet designs in Chaharbagh and themes of some pictured books the pottery artist tried to offer a design of ChaharBagh and its parts. The presence of four gardens each of which is shown in a quarter of square and is integrated with flower or leaf of flower and water canals depicted by right lines present the level of pottery identification from Iranian garden arranging. The central role in some sample offers the pattern and design of construction in spite of other artistic themes that show gardens in three-dimension face. This nine-part pattern was presented in Iranian architecture establishing Apadana in Achaemenian. After it in Sassanid period and first centuries of Islamic period in the form of “Nohgonbad” (nine domes) of central palace in some Chaharbagh and some religious buildings were presented. In the late centuries of Islamic period and specially Safavid period, it continued its life with eight face design and the same nine part divisions. It seems that as using Chaharbagh role in some Safavid carpets became Chaharbagh carpet famous, we can present this kind of pot as Chaharbagh blue and white in identifying Islamic pots.