The Circle of Ancient Iranian Studies
A General Survey Based on the Prime Ministry of Iran's Collections
By: Mohammad Yousef Kiani
is perhaps the earliest and the most important invention made by man. For
historians and archaeologists it is the most significant of the artistic
manifestations. Ceramic production presents a continuous history from the
beginning until the present day. For historians and archaeologists pottery of a
certain period manifests the contemporary social organisation, economic
conditions and cultural stage of that particular region. By studying pottery one
may form impressions about the life, the religion of people and their history,
about their social relationships, their attitude towards their neighbours, to
their own world and even to their interpretation of the universe as it was then
known to them. Other media, e.g. metal and textiles can be destroyed, or
re-used, but pottery is indestructible, and even small fragments reveal a great
deal of information for an expert.
Iran pottery manufacture has a long and brilliant history. Due to the special
geographical position of the country, being at the crossroads of ancient
civilizations and on important caravan routes, almost every part of Iran was, at
times, involved in pottery making. Yet, recent excavations and archaeological
research revealed that there were four major pottery-manufacturing areas in the
Iranian plateau. These included the western part of the country, namely the area
west of the Zagros mountains (Lurestan), and the area south of the Caspian Sea
(Gilan and Mazandaran). These two areas are chronologically as far as is known
today, the earliest. The third region is located in the northwestern part of the
country, in Azarbaijan. The fourth area is in the southeast, i.e. the Kerman
region and Baluchestan. To these four regions one may also add the Kavir area,
where the history of pottery making can be dated back to the 8th millennium BCE.
PERIOD (Pls. 1-40)
of the earliest known and excavated prehistoric sites that produced pottery is
Ganj Darreh Tappeh in the Kermanshah region, dating back to the 8th millennium
BCE Another great discovery was made south of the Caspian Sea in a cave, in the
so-called Kamarband, (Belt cave) near present day Behshahr. Here again the
pottery finds date to 8000 BCE. This type of pottery in known to experts as the
“Kamarband Neolithic pottery”. This pottery was fired at a low temperature,
and its body is very soft. Not far from the above-mentioned cave there was
another, called Huto. The pottery there, from a technical point of view, shows
similarities to that of Cheshmeh Ali in Ray, near Tehran.
second phase of development in pottery-making in Iran is represented by the
wares that were discovered at Cheshmeh Ali, Tappeh Sialk near Kashan and at
Zagheh in the Qazvin plain. The pottery of these centres is different from that
of the earlier periods. Their paste is a mixture of clay, straw and small pieces
of various plants, which can be found and collected in the desert. When mixed
with water they stick well together and form a very hard paste. All these
vessels were made by hand rather than on a wheel. As the potters were unable to
control the temperature of the kilns, there was no stable colour for these
wares. It varied from grey and dark grey to black, occasionally even appearing
with a greenish colour. The type of vessels produced was limited, mainly bowls
with concave bases and globular bodies. Their surfaces were painted mostly in
red depicting geometrical patterns. The date of these wares is ca. the 6th and
5th millennium BCE.
the subsequent periods pottery-making became more and more refined. Although the
wheel still had not been introduced, the shapes of the vessels became somewhat
more varied and more carefully executed .The temperature in the kilns was better
controlled and the decoration of the vessels now included animals and stylised
floral designs. Numerous examples of these have been unearthed at Sialk. To
achieve a finer paste, the potters added fine sand-powder to the mixture that
has already been mentioned. Thus they were able to produce vessels with a very
the invention and the introduction of the potter's wheel, ca. the 4th millennium
BCE, it became possible to produce better quality and symmetrically-shaped
vessels; the number of pottery types made was greatly increased as well. The
decoration of these objects was drawn with much greater care and artistic skill,
and the designs used were greatly enriched and carefully selected. By that time
this more advanced type of pottery was produced in several parts of Iran. Thus
it reveals the close economic and cultural ties that must have existed then
amongst prehistoric communities. Ideas, techniques and artistic trends must have
travelled great distances and were freely exchanged. A good example to
demonstrate this connection is the pottery types that were unearthed at Tappeh
Qabrestan in the Qazvin plain, which are comparable to those from Sialk and
Tappeh Hissar near Damghan, all of the same period. The location of these three
places forms a kind of triangle. One may presume that further archaeological
work will produce more evidence for the close ties that existed amongst these
the 2nd millennium BCE in most parts of Iran we have evidence of local pottery
manufacture. The vessels usually consist of bowls, pitchers, jugs, and jars.
Most of these wares are simple, without any surface decorations. The colour of
these wares varies from grey to dark grey, red to buff. Some of these have
burnished surfaces and are decorated with geometrical patterns (pls. 7-8).
most beautiful wares of that period, however, are the zoomorphic vessels (humped
bulls, camels, rams, etc.) (pls. 29-33) or human figurines, which were mainly
discovered in the Gilan region (Marlik, Amlash and Kaluraz). The zoomorphic
vessels and figurines must have had two distinct functions: some of them were
utility vessels, used in everyday life, while others, probably more important,
were used in religious ceremonies or in burials (pl. 35). Quite a wide variety
of shapes is known today. Their actual function may be determined by the shape
of the vessels and by the gesture of the figurines. The manufacture of these
zoomorphic vessels and figurines continued until the middle of the 1st
AND ACHAEMENID DYNASTIC PERIODS (Pls. 29-33, 35 & 41-42)
knowledge of Median pottery is rather limited. Recent excavations, however,
particularly at one of the most important Median sites, Tappeh Nush-i Jan near
Malayer, produced a great variety of vessels. These are still under study and
examination. It is hoped in the near future a great deal can be learnt about the
pottery of that important period. At other sites, e.g. Bistun, in several places
in Gilan and in Kurdestan Median pottery has also been recovered (Pls. 36-40).
Recent excavations at the site of Ziwiyeh conducted by the Iranian Centre for
Archaeological Research produced a good sampling Median pottery. One of the most
important innovations in ceramic technology appeared during the Median period,
i.e. the introduction of glazed ware, although the earliest evidence for the use
of glaze on bricks was the discovery of glazed bricks in the Elamite Temple at
Choga Zanbil, dated to the 13th century BCE.
the coming of the Achaemenids in the 6th century BCE great advances were made in
pottery manufacture. The simple ware became more popular and widespread. It was
nevertheless in the finer wares that progress is most noticeable. New shapes
were introduced, e.g. the rhyton. The surfaces were now decorated with incised
and moulded designs. Certain prehistoric traditions have survived and continued.
This is perhaps best observed in the application of animal figurines. These are
attached to the handles of jars and rhytons. It is widely accepted that these
figurines had iconographic significance.
and decorations of Achaemenid pottery disclose close connections between
pottery-making and metalworking. Frequently metal shapes and decorations are
produced, and one may add, successfully, in pottery. It is during the Achaemenid
period that glazing was introduced generally into Iran. Excavations at Susa
revealed that the walls of palaces were covered with glazed bricks, which
included elaborate decorations, depicting animals and soldiers. The practice of
glazing must have been introduced from Mesopotamia.
DYNASTIC PERIOD (Pis. 43-46)
quite recently information on the arts of the Parthian period was rather meagre.
At the time when the late Professor Arthur Upham Pope and his team were
collecting material for the Survey of Persian Art, hardly any Parthian site was
known and none was excavated. It was only during the last twenty or thirty years
that a few extremely important Parthian sites were investigated by
archaeologists. Some of these are beyond the present borders of Iran, e.g.
Nyssa, the former Parthian capital in Soviet Central Asia, or Dura-Europos in
Syria. More recently in Iran a number of Parthian sites have been located and
are, at present, under excavation. These sites are Kangavar, Shahr-i Qumis and
several sites in the Gurgan plain, in Gilan and Sistan.
these new archaeological discoveries we have learnt a great deal about Parthian
art and Parthian pottery. In a recent study it has been pointed out that pottery
was not the same throughout the Parthian Empire and the wares of Iran proper
were different from those of Syria and Mesopotamia. Even in this area several
differences are recognisable. In general, Parthian pottery can be divided into
two major groups: unglazed and glazed wares. The unglazed wares can be further
subdivided into two categories: namely grey and red wares. The grey pottery
consists of bowls, small cups and large jars, all with convex bases and without
any surface decoration. Some of them, nevertheless, have a polished body. The
red ware, which was perhaps the most popular, also included large jars, bowls
and jugs, similar in shape to those of the grey wares. They have everted rims.
Under the red ware another type, the so-called “clinky” ware should be
mentioned. This ware has a very fine thin body which is red outside and dark
grey inside; when tapped it gives a clinking sound, hence its name.
also should be noted that zoomorphic vessels, in the shape of rhytons, were
still very popular in Parthian times (Pls. 43-45). These were made both in grey
and in red, occasionally even in buff earthenware.
of the greatest achievements in pottery-making during this period was the
introduction of alkaline-glazed vessels. The body of these glazed wares was a
fine white paste on which the alkaline glaze could be easily applied. Two of the
most common types of vessels in this group were the "pilgrim flask"", and large
bowls. The latter usually rest on three or four short legs (pl. 46). These types
of vessels may have been produced under Far Eastern influence, since their forms
recall contemporary Chinese bronzes.
addition to glazing, most of these Parthian glazed vessels reveal some kind of
surface decoration, mostly simple incised lines or strokes. Another, rather
important, group of Parthian glazed pottery were the large coffins which became
widely used at that period due to a change in religious beliefs concerning
DYNASTIC PERIOD (Pis. 47-54)
general it could be stated that Sasanian pottery is, strictly speaking, a
continuation of Parthian traditions, with two exceptions; The grey ware was
practically discontinued, as were the glazed coffins, since Zoroastrian burial
customs were re-introduced.
pottery thus can be subdivided into two major groups: unglazed and glazed wares.
The unglazed wares were mainly of heavily potted red wares. These include large
jars, jugs, and various types of bowls. They have thick, everted rims and their
surfaces now reveal intricate incised or stamped decorations, including wavy
lines, geometrical patterns, rosettes, or occasionally, even Pahlavi
inscriptions. The number of these Sasanian red wares is constantly increasing.
They have been discovered at a number of sites, such as Bishapur; Siraf,
Kangavar, the Gurgan plain, Turang Tappeh, Takht-i Sulayman,at Ghubayra near
Kerman and Takht-i Abunasar in Fars Province.
pottery, although the alkaline glaze was still used, has in fact considerably
advanced technologically. Instead of the Parthian dark green or brownish-yellow
glaze, the most important colour now becomes turquoise green, or turquoise blue.
This is to be found on a number of pilgrim flasks (pl. 54), bowls and
particularly on large storage jars. These storage jars, which have recently been
unearthed at Siraf and also at Ghubayra, in addition to glazing, were also
decorated with appliqué patterns, most frequently with cable patterns, which
run around the upper part or on the shoulder of the vessels.
figurines were also produced in Sasanian times, of which a great variety are
known today (pls. 51-53). Some of these are partially glazed (pl. 51).
the advent of Islam during the first half of the 7th century CE, pottery
manufacture gradually started to change all over the Islamic world. At the
beginning Islamic potters continued their pre-Islamic traditions, and in Iran
some of these early wares are known as “Sasano-Islamic”. It has been
suggested that due to contact with the Far East, particularly with China, on one
hand and to the restrictions of orthodox Islam on the other, considerable
changes gradually took place in pottery-making, and several new types of wares
were produced. Potters of the Near East made several experiments, partly
imitating imported Far Eastern wares, partly using their own skill and
imagination in inventing new types.
general the history of Islamic pottery can be divided into three main periods
Post-Sasanian or Early Islamic Period (9th - 10th centuries CE) Middle Islamic
Period (11th - 15th centuries CE) Later Islamic Period (16th - 19th centuries
these three periods, which lasted for more than a thousand years, numerous
pottery centres were established, which produced innumerable types of wares.
Recent excavations in famous Islamic cities, e.g. Samarra, Siraf, Nishapur,
Jorjan, Fustat, etc., together with the discovery of pottery kilns at several
sites, provide us with considerable information on pottery manufacture in the
Islamic world. It is worthwhile to emphasize that in pottery manufacture Iran
and the Iranian world was always ahead of the rest of the Islamic worlc'a, and
it was always Iranian potters who experimented most widely with new types and
most important information on early Islamic pottery was, for a long time,
provided by the German excavations at the short-lived early Abbasid capital of
Samarra. Recently, several other Islamic sites have been investigated and these
have considerably altered, and at the same time enriched our knowledge of the
subject. In our investigation we are restricting our interest to Iran and
accordingly, we shall deal only with the pottery of two early dynasties, namely
that of the Buyids and the Samanids.
DYNASTY (932-1055 CE)
we have no examples here of pottery of this period and dynasty, it should be
mentioned that the most common type of pottery was the so-called "guebri",
better known as champleve, ware. The decoration of this pottery comes very close
to Sasanian metalwork and pottery. This ware, it appears, was produced at Zenjan,
Garrus, Amol and Sari. It was actually a kind of sgraffiato technique (the term
ehampleve is actually a metalwork technique and should not be applied for
pottery), where the surface of the vessels, which always had a red earthenware
body, was covered with thick white slip and the decorations were carved away.
The vessels then were coated with transparent green or yellow lead glaze. The
decorations of these wares include floral, geometrical or epigraphic designs,
and frequently human and animals figures as well. The types of vessels made
include bowls, dishes, and jugs; even a few plaques are known.
DYNASTY (819-999 CE) (Pis. 55-76)
Samanids were probably one of the most important dynasties in the eastern part
of the Islamic world during the early Islamic period. Their realm included large
centres like Samarkand (Afrasiyab), Bukhara, Merv, Nishapur and Kerman. The most
important contribution of Samanid artists to Islamic pottery-making was the
invention and perfection of the slip-painted ware. There are several types of
this ware known today, and in general can be divided into the following main
groups black on white, polychrome on white, decoration on coloured ground slip
imitation of monochrome lustre.
slip-painted wares constitute a great advance in pottery decoration. Normally
the pigment runs in the kiln under the lead glaze, as it was practiced in
Mesopotamia in early Abbasid times on splashed wares. By the introduction of a
ground slip and slip pigments, potters could control the designs while in the
kiln, and thus were able to produce a great variety of surface decorations.
the most appealing, and at the same time chronologically one of the earliest
wares was the one which depicted epigraphic designs in manganese-purple on white
or creamy ground slip and then was covered by clear glaze. The earlier the piece
the finer the epigraphic decoration is. These are also legible, mostly including
benedictory phrases. As time went on the epigraphic design became more and more
decorative and less and less legible. The introduction of polychrome over white
or creamy ground can also be considered as the second step in the development of
slip-painted pottery. These polychrome painted wares were now decorated not only
with epigraphic designs, but also with flowers, arabesques or even ewers or
decorative scheme is reversed when the decoration is painted in white or light
colours over a manganese-purple or tomato-red ground. Quite a number of these
vessels are known today. They were excavated at several sites in Soviet Central
Asia, Afghanistan, at Nishapur, Jorjan and even at Ghubayra in Kerman province.
a different type, but an important group is the polychrome buff ware, decorated
with human and animal figures, or rarely only with geometrical forms. The late
Arthur Lane called this type of pottery “peasant ware” of Nishapur. What is
extremely important to note is that this type of pottery was never produced
except in Nishapur, or even imitated anywhere else. The decoration may give some
indication of Samanid painting, of which we have only a few examples, namely the
excavated wall frescoes of Nishapur. A sub-group of this polychrome buff ware
was until recently known as “Sari ware”. This is decorated with walking
birds, large flowers, and occasionally with Kufic epigraphic characters. The
term "Sari" cannot be really accepted, since there is no evidence of manufacture
of such pottery in Sari, but recently such wares and kilns have been excavated
is another group of slip-painted pottery, painted in olive-green on white or
creamy ground; clearly an imitation of contemporary monochrome lustre-painted
pottery. The question whether lustre-painted pottery, either in monochrome or in
polychrome, was produced under the Samanids, is still not clear and has not been
solved. It is a fact that a large number of such wares, both polychrome and
monochrome lustre, were excavated at Nishapur, and thousands of such fragments
are now coming to light in Jorjan; although as yet we still have no
archaeological evidence for their local manufacture.
second important type of Samanid pottery is that of the sgraffiato wares (pls.
74-77). One type of sgraffiato, the "guebri", or "champleve" ware, has already
been mentioned under Buyid pottery, so this will be excluded here. The other
three types, which played an important role in Iran under the Samanids, were the
so-called simple sgraffiato, also known as "Amol" ware, the splashed and
sgraffiato ware, and the so-called “Aghkand” ware.
simple, or “Amol” sgraffiato pottery is decorated with incised lines, right
down to the body through the thin slip which covers it, then coated with
transparent yellow or green glaze. The decoration may include simple
crosshatchings, scrollwork, epigraphic designs, birds or fantastic animals.
Occasionally these incised lines may be outlined in green. The vessels are
mostly bowls, with projecting flat bases and straight flaring sides. The body is
always red. Until recently neither dated. nor signed pieces had been discovered.
A short while ago a small fragment was discovered in the Gurgan plain, with the
signature of an artist: Rahman ibn Musa al-Fakhkhar.
second type of sgraffiato, the so-called splashed sgraffiato ware is actually a
direct continuation of the Mesopotamian early Abbasid splashed wares. Its
invention was most likely due to the ingenuity of Persian artists, who were not
satisfied by simply producing splashes of brown, yellow and green under a clear
glaze. They further enhanced the decoration of their vessels by incised
decorations which at first were simple scrolls, but later included elaborate
designs, such as eagles with spread wings or animals. This type has been
excavated at Jorjan, Nishapur, Kangavar, Takht-i Sulayman, Susa and other sites
third type of sgraffiato. the "Aghkand" ware, is actually similar to a metalwork
technique, incised lines are introduced to certain designs in order to stop the
overflow of the pigment to neighbouring areas. Large birds, animals and flowers
decorate these vessels, which are mainly large bowls or dishes. It has been
claimed that this type of pottery was actually made in Aghkand.
ISLAMIC PERIOD (11TH-15TH CENTURIES CE) THE SELJUQ PERIOD (11TH CENTURY TO 1220
the beginning of the 11th century CE a new dynasty, the Seljuqs came to Iran and
unified the country under their rule, and for a while also brought into their
realm Iraq and Syria. Another branch of the Seljuqs, the Rumi Seljuqs,
established themselves in Anatolia.
period under Seljuq rule in Iran lasted for hardly more than one and a half
centuries, yet it witnessed great progress in literature, philosophy, in
architecture and in all fields of the arts. The Seljuqs became great patrons of
the arts and their patronage made it possible for artists to develop new
techniques in metalwork and in pottery.
most important achievement in pottery production was the introduction of a new
composite white frit material. This new white body made the application of
alkaline glaze easier; the actual body of the vessels was considerably thinner,
almost translucent. Thus Seljuq potters had nearly achieved the fineness of
imported Chinese Sung porcelain which potters of the Near East greatly admired.
Cities like Ray, Kashan, Jorjan, and Nishapur became the main centres of pottery production. Under Seljuq patronage the following types of wares were produced in Iran:
type, which has to be added to these, is the unglazed ware, which has also gone
through considerable changes and refinement. It should also be noted, that while
the Seljuqs were actually replaced by the Khwarizmshahs towards the second half
of the 12th century, artistically the same trend continued in Iran right up to
the Mongol invasion.
WARES (Pis. 78-86)
wares were perhaps the most attractive of the period. As has already been
mentioned, they were produced in imitation of Chinese white Sung porcelain. The
fine thin white body was covered with clear glaze, which occasionally has a
light greenish tinge, which makes it even more attractive.
to their decoration, these white wares can be divided into the following groups:
plain white wares without any surface decoration, their beauty being in their
shapes and in their fine paste and glaze; those which have moulded or incised
decoration of either simple lines, scrollwork or elaborate floral designs, or
occasionally even Naskhi or Kufic inscriptions; vessels with openwork decoration
which are pierced on the body to form little windows which are then filled by
the clear glaze, thus making the vessel even more translucent; and finally,
wares which have cobalt blue splashes.
of the vessels that are known today are bowls, jugs or occasionally cups. Some
of them reveal a combination of the various decorative techniques mentioned
above, e.g. moulded or incised decoration, openwork and cobalt blue splashes
applied on the same vessel. It appears that the white wares were made in Kashan,
Jorjan and perhaps even in Ray.
GLAZED WARES (Pis. 81-96)
type of ware was perhaps the most common all over Iran, and was later copied
everywhere in the Islamic world. The colour of the glaze ranges from blue.
through green, turquoise, brown to yellow, and purple. Almost every type of
vessel was covered with these glazes, including bowls, jugs, tankards, pitchers,
utility objects and zoomorphic vessels.
decoration of these wares, just like those of the white ware, varies greatly.
Most of them are simple, covered only with the coloured glaze, others may be
decorated with incised, moulded, stamped or even carved decoration. The
decorations include scrollwork and epigraphic inscriptions, these mostly applied
on jars, jugs and vases, running round the shoulder of the vessels; others,
which are more elaborate, may include human and animal figures. One of the most
frequent animate themes is the representation of dancing figures. These vessels
were most likely made in moulds. Such moulds were discovered in the excavations
of Nishapur and at Jorjan. There are a few fine pieces known, on which the
carved decoration is outlined in thin red or gold lines. The monochrome glazed
wares were made in Nishapur, Kashan, Jorjan and most likely at Ray.
OR LAQABI WARES
type of pottery is actually a re-interpretation of the "Aghkand" ware in white
frit ware, in which the decoration of the surface was carved and the raised or
incised lines used for stopping the overflow of the various colours. Most of
these vessels, which are large plates or jugs, are decorated with a large bird,
animal or a human figure in the centre, surrounded by a cobalt blue cable
pattern over white ground.
origin of this ware is much debated. Most scholars believe that it originated in
Egypt and thence spread to Syria. French scholars have discovered kilns and
kiln-wasters in Raqqa in Syria. In Iran it was believed that the ware was
produced only in Ka han or Ray, but so far no archaeological evidence has been
discovered. If this ware was ever produced in Iran, it must have been only for a
short period during the 12th century CE
WARES (Pis. 97-103)
origin of lustre painting has been the subject of bitter discussion amongst
scholars. Mesopotamia, Egypt and Iran have all been suggested as the original
centres. The problem still has not been solved, and it is not our aim here to
deal with this in any length. It, however, is a fact that lustrepainting was
applied on glass by Coptic workers as early as the 7th or 8th century CE In
Samarra the German excavators have found large numbers of lustre-painted pottery
and even tiles in situ, thus indicating a 9th century CE date for
lustre-painting on pottery. After the rise of the Fatimid dynasty and their
foundation of Cairo in 969 CE, the centre of lustre production is definitely
concentrated in Egypt. During Fatimid and Tulunid rules outstanding
lustre-painted pottery was produced in Egypt, some of which depicted not only
human figures but also scenes from everyday life. Around the end of the 12th
century CE, it seems that the potters left. Egypt and were looking for patronage
elsewhere. Some of them went to Syria, or Anatolia, where they gained the
support of the Rumi Seljuqs in Konya. Others, however, came to Iran and set up
their centre or centres somewhere in the country.
to Pope and Lane, who wrote in detail about the lustre production in Iran, there
were three main lustre producing centres in the country: Ray, Kashan and Saveh.
Unfortunately there were no proper scholarly excavations at Kashan and Saveh,
thus we have no archaeological evidence to support this surmise. The lustre
production at Kashan, however, is well substantiated by the signature of several
artists from Kashan and by Abu'l-Qasim's treatise, who claimed that lustre and
several other types of pottery were produced in that city. The problem is
different with Ray. In the mid thirties there were scholarly excavations at Ray,
but these did not produce the evidence that was expected. The present
excavations in Ray by Iranian archaeologists again failed to trace any evidence
of local lustre production. Accordingly the theory that Ray or Saveh were lustre
producing centres has to be approached with great caution.
is a broken jar in the British Museum in London, which is, as far as is known
today the earliest dated lustre object. It gives the date of 575 A.H. /1179 CE
It was believed to be a Ray product. The inscription nevertheless does not state
the place where it was made, but simply gives the date. Recently another dated
vessel, a bowl, came to light in a private collection which is much earlier than
the British Museum jar. The date on this bowl is 504 A.H./1114 CE This piece, if
genuine, could considerably alter our views on lustre production in Iran. It is
painted in the "Kashan" style. This vessel is still under investigation and
detailed scrutiny, therefore no conclusion can be made at this stage.
for the lustre styles of Ray, Kashan and Saveh, Pope and Lane claimed that in
Ray lustre compositions were never crowded. There was usually one large animal
or human figure in the centre, or if several figures were represented, they were
carefully separated from each other by geometrical bands or scrollwork. Pope
distinguished' two periods in lustre production at Ray: the miniature style and
the monumental style. As for Kashan, it was generally accepted by a number of
scholars that compositions were always densely crowded; human figures were
depicted with round faces, with Mongolian features including large almond-shaped
eyes; their garments were richly decorated. In the foreground on most vessels
there is a pond with fishes; above, there is a stylized sky and the entire
central field is surrounded by tassel-like marks. The leaves have veins and
dots; the typical "Kashan" pigeon is present on most pieces, while on the
outside of the vessels there is a kind of "heart-shaped" leaf.
was also on typical Kashan wares that cobalt blue, or occasionally even
turquoise glaze was added to the lustre decoration. Apart from vessels, Kashan
potters also produced large numbers of tiles and mihrabs, some of which were
made up of several lustre tiles. Quite a number of these lustre mihrabs and.
tiles are dated and signed. The family of Abu Taher a documented potter,
contributed outstanding artists to Kashan for three generations.
regard to the possibility of lustre production at Saveh, it was the late
Professor Arthur Upham Pope who put forward such a theory. He also claimed that
he collected kiln-wasters there. Unfortunately, as has already been pointed out,
there were no excavations at Saveh and accordingly this surmise cannot be either
supported or disproved.
important place, not yet mentioned in the Survey of Persian Art, is Jorjan,
where during the 2nd World War important discoveries were made. Turkomans
unearthed some 20 or 25 large unglazed jars in which complete pottery vessels
packed in sand were placed, probably before the Mongol invasion in 1220 CE
Subsequently the late Dr. Mehdi Bahraini, who was then Director of the Iran
Bastan Museum in Tehran, carried out his own investigations and then published
his book, Gurgan Faiences. His book was received with great scepticism by
several Iranian and Western scholars, Unfortunately he died before his book,
which was published posthumously, came out of the press. During the past seven
years the Iranian Centre for Archaelological Research has carried out
excavations at Jorjan under the direction of the present writer. During these
archaeological investigations six pottery kilns and one glass kiln were
unearthed. At first there was evidence of local production of slip-painted,
sgraffiato and monochrome glazed pottery. It was only during the last year that
evidence for lustre production came to light. Several kiln-wasters and several
ceramic sticks used in kilns and tripods with traces of lustre on them were
found in the potters' quarter. Thus it seems that Bahraini's theory of lustre
production in Jorjan has now been satisfactorily proved.
analysing the possible individual style of Jorjan, at first glance one may come
to the conclusion that the ware is painted entirely in the Kashan manner. It is
perhaps even logical to suppose that there must have been a close contact
between the two centres, and one can even suggest that perhaps the potters of
Jorjan had studied at Kashan, and later moved up to Jorjan, or vice versa. On
several vessels, on the lower side of jugs and bottles, or inside bowls, there
is an unusual "chain-scrolh" motif, a pattern that has never been noted on "typical
Kashan" vessels, but is present on most of the lustre vessels discovered in
Jorjan during World War II or on thosewhich were excavated recently. This
pattern may be one of the attributes of Jorjan lustre. It is perhaps still too
early to discuss the lustre painting production and style of Jorjan in great
detail, but the problem is now under investigation and a full report will
is perhaps not entirely out of place to refer here again to the question of
early lustre painting. It was again in Jorjan that several hundreds of early
polychrome and lustre-painted sherds came to light during the excavations. The
above mentioned lustre bowl with its early date may completely alter our
approach and interpretation of the history of lustre painting. If this early
dated vessel is genuine, as it looks to be, then it simply means that
lustre-painted pottery was produced in Iran well before the fall of the Fatimids
in Egypt. Since there are numerous fragments of early polychrome and lustre
sherds at Jorjan, but also at other places, e.g. at Susa is it not possible that
lustre-painting was produced in Iran from early Islamic times onwards without a
break until the advent of the Seljuqs, when it reached its golden age.
WARE (Pls. 104-105)
decoration under a clear glaze was first attempted by Muslim potters in Syria,
probably during the late 9th or in the 10th century CE Underglaze-painted
decoration became really possible during the Seljuq period when the new white
frit ware was introduced and on which the clear alkaline glaze could be easily
applied. Pigments will not run in the kiln under alkaline glaze, thus elaborate
decorations became possible. This medium and technique was far more suitable for
underglaze decoration than the glazes previously used in the same manner on the
earlier lead glazed wares.
colours used in underglaze-painting were limited to three: cobalt blue,
turquoise and black. These colours were applied either all together, or
sometimes only two; then the vessel was coated with a clear glaze. Another type
of underglaze-painted ware included the use of glaze of blue or turquoise colour
in place of the transparent glaze. In this instance the decoration was usually
painted in one colour only, namely in black. There are, however, a few examples
known on which the decoration appears in black and cobalt blue under a greenish
decoration of most of these underglaze-painted vessels utilizes floral designs
and epigraphic patterns. Others show human figures or animals. Those with human
figures and animals reveal a close relationship with contemporary lustre-painted
pottery. The details of the figures are identical to those on lustre wares;
their garments are likewise ornate. On a few examples the pond ornament is
present in the foreground. That would imply that perhaps the artists of these
lustre and underglaze-painted vessels were the same and both types of wares were
produced by the same ateliers. But where were these workshops and when were
these vessels mostly made?
in the past generally accepted Ray and Kashan as the main centres for this type
of pottery. Indeed, there can be no question about Kashan as a centre. As for
Ray, the same remarks apply as for lustre-painting; there is still not
sufficient evidence to claim that this type of pottery was made there. Evidence
was likewise missing in Nishapur. It was again at Jorjan that the recent
excavations brought to light kiln-wasters, and tripods indicating that
underglaze-painting was practiced there, in the same kilns where lustre wares
were made. The underglaze-painted finds, complete and sherds, are so numerous in
Jorjan that local manufacture cannot be doubted any longer, particularly on
account of the evidence of wasters.
the possible dates of these underglaze-painted wares, there are a number of
dated examples; the earliest known dated example is a jug, with the date 557
A.H./1166 CE, and the latest dates from the period after the Mongol invasion, to
the year of 677 A.H./ 1278 CE
(MINAI AND LAJVARDINA) WARES (PI. 106)
one of the most beautiful types of pottery that was produced during the Seljuq
period is that of overglaze-painting. In Persian the names of minai (enamel), or
heft-rengi, (seven colours) are used. The term lajvardina applies to a somewhat
later technique and will be described further below.
seemed logical for Seljuq potters to attempt, after their numerous successful
techniques, the most difficult decoration, namely painting in polychrome over
the glaze. The colours used were indeed seven, as the Persian term, heft-rengi
indicates: cobalt blue, green or turquoise, red, brown or black, gold, yellow
and white. The seven colours do not necessarily appear all together on every
overglazepainted vessel. It is claimed in fact that two colours out of these
seven, namely cobalt blue and turquoise, are not painted over, but under the
decoration of this overglaze-painted ware, particularly of the earlier pieces is
very delicately painted in miniature style, and indeed recalls contemporary
Persian and Mesopotamian manuscript illumination. Unfortunately there are not
many illuminated manuscripts which have survived from the Seljuq period, but
there is one in the Topkapi Saray Library in Istanbul, the manuscript of Varqa
va Gulshah, which is- definitely a Persian Seljuq work and was most likely
executed in Khurasan. The similarity between the miniatures of this particular
manuscript and the decorations of the minai vessels is so striking that several
scholars put forward the idea that the artists of the miniatures and the pottery
vessels must have been the very same persons. It is here, on minai vessels that
we have the only Islamic and Iranian pottery which displays elaborate hunting,
royal or love secenes, most of which must recall the stories from Ferdausi's
Shahnameh. The story of Bahram Gur and Azadeh hunting is a scene that is
repeated on several minai vessels. There is also a large plate in the Freer
Gallery in Washington representing the siege of a fortress. It has been
explained that this scene is neither from the Shahnameh, nor from any other
Persian epic, but rather recalls an actual event, a real siege that must have
taken place at some time and was later remembered, perhaps as a souvenir for
someone depicted on this minai plate.
we examine the development of minai wares in detail, we may come to the
conclusion that in its first stage the decorations over the glaze were somewhat
limited and included only floral designs and geometrical patterns. The Jorjan
excavations produced numbers of such sherds but no figural decorations. Figural
decorations must represent the second stage in the development of minai. We have
a few such dated examples, the earliest one being a bowl, dated 578 A. H. /1182
A. D., and the latest known piece 621 A.H./1242 CE Abu'l-Qasem, who was a member
of the famous Kashan lustre potter family, in his treatise on pottery techniques
(already referred to previously) claimed that by his time in 700 A.H./1300 CE,
minai had died out and was not practised any longer. By then the lajvardina
technique was used.
change from minai to lajvardina, however was not a straight jump, but was rather
a slow transitional process. From the surviving complete vessels and sherds it
appears that at a later date, most likely after the Mongol invasion, the minai
technique was simplified. The vessels were covered with a coloured, usually
light blue or turquoise glaze and the decoration, which by then was very much
simplified and restricted to scrollwork and geometrical designs, was painted in
red, black, occasionally in white and with the larger part of the decoration
executed in gold leaf stuck to the glazed surface. Some of the decorative
details were in low relief. Jars, jugs, bowls, or some unusual objects like the
cosmetic or chemical container (plate 99) were made in this transitional
the end of the 13th century the background of these overglaze-painted vessels
becomes darker; they were completely covered with lajvard (hence the name) or
cobalt blue glaze, then were painted in the same way and with the same colours
as mentioned above for the transitional pieces.
Kashan, Saveh and even Natanz were suggested as the possible centres of minai
and lajvardina wares. The Ray excavations in the thirties failed to produce any
minai piece, and the excavator, the late Dr. Schmidt remarked that they must
have been imported there. The recent archaeological work at Ray failed to
produce a single minai piece. Saveh and Natanz, in the absence of any
achaeological evidence, must be treated with the same caution as for the
lustre-painted wares. There is, however, no doubt about Kashan being one of the.
most important centres of the technique which was stated by Abu'l-Qasem,as
excavations at Jorjan produced a large number of minai sherds, all from the
potters' area. It is true that up to this date, not a single waster was
discovered, but the presence of so many minai sherds around the kilns may be an
indication of local production.
for the production of lajvardina, Abu'I-Qasem clearly mentions that this was
made at Kashan during his life-time, i.e. towards the end to the 13th and
beginning of the 14th century. Ettinghausen once put forward the suggestion that
perhaps they were made in the Soltanabad (present day Arak) area. The German
excavations at Takht-i Sulayman, in the northwestern part of the country have
also produced lajvardina wares, mainly tiles which must have decorated the
palace of the 11-Khanid Abaqa Khan. The excavators have also discovered kilns
and kiln-wasters there. Accordingly the technique must have been practised at
least in two different places, namely in Kashan and in Takht-i Sulayman, but
that was already in post-Mongol times under the II-Khanid rulers.
WARES (Pis. 107-108)
wares are one of the most common and popular pottery types, made almost
everywhere and throughout several millennia. In Islamic pottery they constitute
a great part of the evidence in the history and evolution of ceramics. To date
or identify the provenance of unglazed wares is an extremely difficult, mostly
impossible task. Yet, it was during the Seljuq period that more and finer
unglazed wares were produced all over in Iran than ever before or even after.
paste of these vessels can be white, buff, yellow or red. The actual colour of
the body depends partly on the chemical composition of the clay, and partly on
firing. The wares may be divided into two large groups: simple or undecorated
vessels, and decorated ones. The decorations may be incised, stamped, moulded,
carved or pierced. Frequently several of these decorative techniques were
applied on the same vessels.
are large storage jars, decorated and undecorated, bowls, jugs, and bottles,
particularly convenient for holding water, since evaporation of water from the
unglazed surface helps to cool the liquid inside. Pilgrim flasks, cups, etc.
were also made in these unglazed wares. Kilns for producing such wares were
discovered in several sites in the country, but it was in Nishapur and Jorjan
that moulds came to light. It is nevertheless most likely that almost every
region had its pottery centre where unglazed wares were made for local
PERIOD (1258-1334 CE)
Mongol invasions of 1220 and 1221 CE devastated large parts of Iran and in
particular destroyed cities like Ray, Nishapur and Jorjan, which previously were
the most important pottery centres. Kashan, although likewise destroyed by the
Mongols, seemed to have quickly recovered and pottery production continued.
Mongol governors, the II-Khans, who ruled the country on behalf of the Great
Khan in Mongolia, soon separated themselves from the rest of the Empire and set
up an independent dynasty. Their new capital was first at Maragheh and later at
Tabriz in northwest Iran. They embraced Islam and assumed Iranian customs and
culture. However, recovery from the great devastation was rather slow. It was
not until the end of the 13th century that new building projects were started.
Rashid al-Din, the prime minister of the Mongol 11-Khans at the beginning of the
14th century, and also a scholar, was responsible among other cultural
activities for the compilation of the famous Jami' al-Tawarikh "Universal
History"" manuscript which was richly illustrated with miniature paintings.
far as known today, it was mainly Kashan that continued manufacturing lustre,
underglaze and overglaze-painted wares, as has already been mentioned. Towards
the end of the 13th and beginning of the 14th century CE, however, new pottery
centres emerged. One of these was in the northwest, probably at Takht-i Sulayman,
where the Mongol Abaqa Khan (1265-1281 CE) built a palace for himself which as
we have already seen was decorated with luster and lajvardina tiles. Takht-i
Sulayman, however, must have been connected with another major pottery producing
area, namely the Soltanabad district (modern Arak), which included not only the
town itself, but at least another twenty or thirty villages. Further south,
Kerman became another centre and soon M ashhad pottery appears as well. Apart
from these main centres there were several other, less significant, pottery
producing areas, most of which haven't yet been located.
The pottery of the Il-Khanid period can be divided into the following groups
WARES OF KASHAN
Lustre and underglaze-painted wares continued in Kashan after the Mongol invasion with the same shapes, decoration and techniques identical to those used before. In the early phase there is hardly any noticeable change. There was an increase in the production of tiles, particularly for rebuilding or new architectural projects under 11-Khanid patronage. These tiles were intended to decorate palaces and religious buildings such as mosques, madrasahs and shrines. A great number of these tiles and mihrabs bear the signature of the artists and the date of completion. The inscriptions on the tiles are partly in Arabic and partly in Persian; the later ones may be quotations from the Shahnameh or from other Persian epics.
the early 14th century CE some change is noticeable in the decoration of these
Kashan vessels and tiles. Namely, certain Far Eastern decorative elements such
as phoenixes, dragons, etc. are introduced. On this new type of tile part of the
decoration may appear in low relief and occasionally painted in cobalt blue,
turquoise or both.
WARES OF THE SOLTANABAD DISTRICT (Pls. 109-117)
Soltanabad (Arak) district must have been a significant pottery producing area
well before the advent of the Mongols. In early Islamic times, nevertheless, we
don't know much about the pottery from this area. It is only towards the end of
the 13th and early 14th century that ceramics of this region become important.
In the past scholars have even attributed some lustre vessels to this district.
We can say, however, that these were more likely the products of Kashan than of
this area. Soltanabad wares may be divided into the following three groups: the
first one is very similar to the underglazepainted wares of Kashan, except that
here the design is mainly composed of radiating wedge-shaped designs with floral
or epigraphic patterns. These are painted in cobalt blue and black under a clear
glaze. The second type differs from this, since here the design is mainly in
black on a greyish ground, some of the decorative patterns appearing in white
low relief, and then covered with a clear glaze. Usually there is a bird or an
animal inside in the centre depicted over floral background; round the rim there
is an inscription, which is usually illegible, serving only a decorative
purpose. By then the shape of the vessels also changes. The most popular vessel
is the bowl on a splayed foot-ring with hemispherical body and everted and
incurved flat rim. This type of bowl was also produced in a monochrome-glazed
version, occasionally decorated with vertical ribs on the outside (pl. 110).
third type of these wares is much thinner and whiter. The decorations are
painted mostly in three colours: cobalt, black and turquoise, but black is
primarily used for outlining the decorative patterns. This was essential since
by then potters somehow once again were unable to control the colours, which ran
in the kiln (see pls. 114-117).
new shape introduced at that time was the albarello. This shape may have come
from the west, probably from Syria. Some scholars believed that there was a
connection between certain Soltanabad wares and Syrian pottery of the time.
Certainly some affinity is recognisable, not only in the shape of vessels, like
the albarello, but also in the decorative motifs.
These Soltanabad wares may have also been produced elsewhere in the country, primarily in the northwestern part of Iran. Here one should once more refer to Takht-i Sulayman, where similar vessels have been excavated. The presence of kilns and wasters indicate their local production.
WARES OF KERMAN
archaeological work in the Kerman region, namely at Ghubayra and in Sirjan,
brought to light new types of wares which seem to be of local provenance. These
included underglaze-painted wares. Their decoration may imitate those of Kashan,
or later the wares of Soltanabad, but their quality and potting is remarkably
different. These Kerman wares are heavily potted; the glaze is of an inferior
quality, which easily peels off from the body. There were no kilns or wasters
discovered at Ghubayra, but they were found at Sirjan. Accordingly, Sirjan, a
considerable town at that time, was already, or had just become a pottery
type of local ware, definitely the product of either the town of Kerman or
another place in the province, was lustre-painted tiles. This type is so
different in paste, quality of the glaze and pigment from the tiles of Kashan
that it can be easily recognised. The decoration may imitate the tiles of Kashan,
yet is inferior and the colour of the pigment is much darker brown. During the
Ghubayra excavations another type of lustre-painted tile was discovered: painted
on cobalt blue glaze with lustre decoration, which on the dark glaze appears
silverish in colour. While such vessels were made elsewhere in Iran, no such
tiles have been located so far anywhere else.
recent excavations by the Iranian Centre for Archaeological Research at Jorjan
have shown that the town was, as stated by several scholars before, destroyed by
the Mongols. Still, it now seems almost certain that pottery production
continued there after a short interval. The post-Mongol pottery included
underglaze and lustre-painted wares. Their quality had not deteriorated, but
there were some changes in the decorative scheme, which became somewhat
simplified and perhaps less figurative.
wasters recently discovered at Jorjan were of the underglaze-painted wares,
their shapes similar to those of Soltanabad bowls, i.e. with everted and
incurved rims, and with inscriptions outside round the rim.
There is also an indication that some kind of blue and white ware was produced in the Jorjan area. These pieces may in fact represent the first examples of Persian blue and white wares. Simply, it is a category within the underglaze-painted type in which the black and turquoise colours have been eliminated. These early blue and white examples may date from the 14th century, prior to the invasion of Timur in 1393 CE when he destroyed Jorjan and which meant the end of urban life there.
WARES (PIS. 118-120)
from the wares and pottery centres mentioned, there are a great number of wares,
the provenance of which cannot be easily localised. Two possible provincial
centres were identified as Varamin and the Ray area. The pottery from these two
areas has a buff body, covered with white or creamy ground slip and painted in
polychrome under a yellowish transparent glaze. The decoration of these vessels
may be simply floral, scrollwork, or sometimes depicting flying birds. These
birds recall Far Eastern prototypes. The attribution to the Varamin and Ray
vicinity was due partly to finds collected and partly to historical events; the
area became important under the Il-Khanids at the beginning of the 14th century.
There is also a great number of heavily potted, blue and black painted wares, decorated with crosshatching. These vessels, mostly large bowls and dishes, have everted flat rims and are always heavily potted. Up to this day it is impossible to determine the provenance of these "crosshatched" wares.
TIMURID POTTERY (1370-1502 CE)
1393 CE there was another devastating invasion in Iran. This time it was
Timur_who came with a big army, conquered the entire country and destroyed many
cities, such as Jorjan, Isfahan, Shiraz and Kerman. Timur carried most of the
artists away with him to his capital at Samarkand. Thus Samarkand became the
centre of the arts, particularly of architecture and architectural decoration.
The golden age of Timurid art, however, did not start until the reign of Shah
Rukh (1404-1447 CE). Shah Rukh, himself a calligrapher, became a patron of the
arts. Miniature painting flourished; beautiful religious building were erected
all over the Timurid realm. : Architectural decoration becomes important at
which time the most beautiful and elaborate faience mosaic decoration was made.
It is perhaps sufficient to mention the shrine complex, the Shah-i Zindeh in
Samarkand, or the Gur-i Amir, Timur's mausoleum, the Madrasah of Gauhar Shah in
Herat and Mashhad, or perhaps the most famous and best known, the so-called "Blue
Mosque" in Tabriz.
Pottery production of the period hasn't been fully investigated, yet it appears that the same type of pottery was produced all over, as before under the Mongols. There is perhaps one more important ware that now appears: the first group of the so-called "Kubachi" ware. This ware was simply painted in black under blue or turquoise glaze, and consisted only of large dishes with everted sloping rims. The decoration consisted mainly of floral designs or geometrical forms. There are, however, two examples which have inscriptions in Nasta`liq which include the date of the vessels. Both give 15th century CE dates, thus they were definitely Timurid. The name "Kubachi" in fact is very unsatisfactory, since that is the name of a small village in Daghestan in the Caucasus. But it was there in Kubachi, where this type of pottery was first discovered and found on the walls of peasant houses. It is now wellknown that the people of Kubachi never made the pottery, but they produced fine metalwork and arms which seemed to have been exchanged for this particular type of pottery. It is now widely accepted that "Kubachi" pottery in fact was produced in the northwestern part of Iran, in Tabriz, or somewhere in that region.
Another type of pottery that now becomes more fashionable is the blue and white ware. It has already been mentioned above under Jorjan that some kind of blue and white ware was already produced in pre-Timurid times either in Jorjan or somewhere else in the Jorjan plain. The new type of blue and white, however, is different from the former in shape, colour and decoration. This new type of blue and white was certainly produced under the direct influence of imported Chinese blue and white porcelain. The shapes are those of Chinese porcelain vessels, mainly small "rice" bowls. The decoration again recalls those of Chinese prototypes, depicting lotuses, meanders and flying phoenixes. It had been suggested that this 15th century blue and white was made in Kerman. This theory has now been substantiated by archaeological evidence from Ghubayra and from other sites in Kerman Province. It is perhaps also worthwhile to mention that such blue and white bowls were excavated in East Africa at Kilwa, which must have been imported from Iran.
ISLAMIC PERIOD (16TH-19TH CENTURIES CE)
included the late Il-Khanid and Timurid periods in this later Islamic pottery.
Dr. Geza Fehervari also recently included these two periods under the later
period in his study based on the Barlow Collection. In the present writer's
opinion late 11-Khanid pottery was more or less a continuation of Seljuq types,
although admittedly some changes took place around the end of the 13th century,
as has been pointed out. These changes are attributable to Mongol influence.
During the Timurid period, a transition between earlier and later types, there
was a decline in pottery making. This was contrasted by the great advance and
brilliance of technique achieved in architectural decoration.
SAFAVID WARES (1502-1722 CE)
Safavid period was a renaissance in the history of Iranian pottery, when not
only long forgotten techniques were re-introduced, but also when new wares were
invented. Thus perhaps it is more logical to consider the rise of the Safavid
dynasty as the beginning of a new epoch in the long history of Islamic pottery.
Safavids came to power at the beginning of the 16th century CE, and for the
first time after more than one thousand years a national dynasty, the Safavids,
came to power in Iran. The dynasty was founded by Shah Ismail (1502-1524 CE) who
united the country under his rule. The Safavid period was a golden age for Iran,
particularly for the arts. Monumental and richly decorated mosques, madrasahs
and palaces were built: metalwork flourished again; carpet weaving gained new
impetus and miniature painting reached its apogee during this time. Shah
Ismail's successors, Shah Tahmasp 1 (1524-1576 CE), Shah Abbas 1 (1587-1628 CE)
became active patrons of the arts. First the capital was at Tabriz, and later,
due to the Ottoman threat, was transfered to Qazvin; at the end of the 16th
century it was moved to Isfahan by Shah Abbas 1.
manufacture gained new impetus, partly under Ottoman and European, and partly
under Chinese influence. Old techniques were revived and produced, due to the
different age and requirements, in a new guise. The body of these Safavid wares
is now so fine, thin and translucent, that it comes very close to the imported
Chinese porcelain. It is a kind of faience but much more refined than that of
the Seljuq period.
pottery can be divided into the following types
type of ware has already been mentioned briefly under Timurid wares. The most
recent research produced evidence that this ware can be subdivided into three
groups; the first group is discussed above. The second group is the blue and
white. As in the earlier group there are only large dishes known, very similar
in shape to those of group no. 1. The blue of this ware is rather inky and is
apt to run under the glaze. While there was definitely some Chinese influence
here, the decorations depicted on these wares are rather distant from Chinese
prototypes. As for their possible dates, the 16th century has been suggested.
third, and perhaps the most important group, of these Kubachi wares is the
polychromepainted. The designs appear in blue, brownish-red, yellow and green
under clear glaze. In the decoration some Ottoman influence, i.e. the influence
of Iznik wares is apparent, as is Chinese influence. Portraits of ladies and
gentlemen are painted on these dishes against floral or simple scroll
backgrounds. Others depict landscapes or just flowers. Apart from large dishes,
small bowls, dishes and jugs are also known in these types.
has been mentioned lustre-painted ware was still produced in Kashan and Jorjan
and, tiles in Kerman during the 14th and even in the 15th century CE During the
15th century, however, there was a decline in lustre production It,
nevertheless, never stopped completely but continued until it was revived again
on a wide scale in Safavid times. Safavid lustre ware has a very hard and
compact white body and was decorated in golden, brownish or reddish colours. The
decorations are mainly floral designs and scrollwork; birds or small animals are
also rarely depicted. These were painted on a white ground, or sometimes over
cobalt blue glaze.
The shape of the vessels changed considerably; bottles, vases, cups, and plates are the most important types. Great numbers of these are preserved in western public and private collections. The centre of Safavid lustre production, due to lack of archaeological evidence for local production, has still not been established for certain. Kashan, Shiraz, Isfahan and Kerman were all suggested, but until recently no fragments or vessels had been discovered in archaeological context at any of these places. Safavid lustre wares can be dated to the late 16th to the early 18th century CE
term "Gombroon" derives from the old name of modern Bander Abbas, which in
Safavid times was an important port on the Persian Gulf. It was from there that
the Dutch and the British East India Companies exported this special type of
pottery, together with other Safavid wares to Europe.
"Gombroon" ware has a hard faience body, which is considerably thinner than that
of contemporary lustre ware. It is occasionally even translucent. The decoration
may consist of incised patterns under clear glaze, or is painted in cobalt blue
and black colours. Finer pieces are pierced, and just as in the white wares of
the Seljuq period, the little holes are filled by the glaze, which has a
greenish tinge. Others have no decoration; their beauty is in their fine and
elegant shapes and in the almost porcelainous body.
mostly on half splayed foot-rings ewers, jugs and cups were made. This type of
pottery was introduced sometime during the 17th century and continued right up
to the end of the 19th. There are two dated examples known. Both are bowls in
the British Museum, one dated to 1233 A.H. (1817 CE), and the other to 1234 A.H.
(1818 CE), both with the signature of Mohammad Ali.
LATE BLUE AND WHITE (PI. 121)
has already been made to the introduction of blue and white wares in previous
chapters. It was nevertheless during the Safavid period that this ware gained
greater importance in Persian pottery manufacture. European travellers of the
time refer to the production of this type of pottery, which was, as has been
mentioned above, exported to Europe.
earliest blue and white ware was most likely manufactured in Jorjan or somewhere
else in that area, as mentioned earlier. Kerman was another important centre as
early as the 15th century. During the Safavid period blue and white production
increased there and such wares were exported not only to Europe but also to East
Africa. European literary sources mention three major centres for blue and white
wares: Kerman, Mashhad and Yazd.
wares of Kerman may be recognized by the paste of the vessels, which is softer
and porous, and by their decoration, very distinct from the works of the other
two centres. Kerman blue and white may imitate the decoration of Chinese wares,
but the interpretation of the Chinese decorative motifs, landscapes and figures
is clearly Persian. The floral motifs in or around the landscapes is also
entirely Persian. The blue is softer and the decoration was never outlined in
black, as it happens in Mashhad or in Yazd towards the end of the Safavid
The decoration of the blue and white ware of Mashhad consists of much closer imitations of the Chinese prototypes. The body is harder, the blue is darker and the decoration is a faithful copy of the Chinese blue and white porcelain. The large plates and dishes, which have survived in large numbers in private and public collections in the western hemisphere, always depict a Chinese landscape in the centre of the vessel, while on the border are Buddhist symbols, Chinese flowers or rocks are shown. On a few specimens the decoration is reserved in white on a blue background and moulded in low relief. Towards the late 17th and early 18th century, when potters were again unable to control the flow of pigment in the kiln, the decorations were outlined in black.
late Arthur Lane was the first to emphasize the importance of Yazd as a blue and
white producing centre. He referred to tassel-marks on the base of the vessels
which were characteristic of Yazd. Recently more vessels have come to light
which can be attributed to this town. The colour of Yazd wares is strikingly
different from those of Kerman and Mashhad. It is rather on the darker side, a
kind of greyish-blue or almost black. The glaze usually has a greenish tinge
which never occurs on Kerman and Mashhad wares.
are a number of dated blue and white wares, and it is now clear that they were
produced in all three centres throughout the Safavid period and even later.
A large number of brown, yellow, green and blue glazed vessels are known to have been made during the Safavid period. While their exact provenance has not yet been established, scholars have indicated that they can be connected with southern Iran, or more precisely, with the town of Kerman. These wares may be simple, lacking any surface decoration; others are moulded, depicting human figures, flowers, animals or birds. Jars, vases and flasks are known to have been made. Their suggested date is the 17th and early 18th century.
A group of pottery vessels were painted in brownish-red, blue and green under the glaze, likewise attributed to Kerman. Such fragments actually have been collected recently on the slopes of the Qala'-i Dukhtar in Kerman and were excavated at Ghubayra. Complete vessels preserved in private and public collections are mainly large plates and qalians, and are are decorated with flowers and human figures. There are two dated examples, one bearing the date corresponding to 1673 CE and another 1677 CE Accordingly, these polychrome wares can be attributed to the 17th and early 18th centuries.
OF THE ZAND AND QAJAR PERIODS (1756-1925 CE)
pottery so far has not been seriously studied, and the available information is
scarce and not very reliable. Yet we may presume that after the Afghan invasion
when the Safavid dynasty was swept away, for a while there was chaos in the
country, but pottery production must have continued along the same lines as
previously. The change, or rather the decline, was gradual. It is true that even
as late as the middle of the 19th century fine blue and white or white "Gombroon"
wares were produced, but in general the quality of pottery deteriorated. With
the removal of the capital from Isfahan, first to Shiraz under the Zands, and
then to Tehran under the Qajars, the artists themselves moved. Traces of Zand
architectural decoration are visible in the Majid-i No and in other buildings in
Shiraz. New colours were introduced, including pale pink. Later, tile production
continued in Tehran. These tiles depict human figures in low relief against a
dark blue back ground.
produced a kind of blue and white ware and an underglaze polychrome-painted ware
throughout the 19th century, but the quality of these never reached that of
Safavid pottery. A new type of pottery painted in blue and black with pierced
decoration, again the clear glaze filling the small windows, was made in Nayin
during the 19th century.
Toward the end of the century there was a general decline in pottery manufacture in the country, due mainly to the mass imported and cheaply produced industrial porcelain from Europe and the Far East. This meant the end of artistic pottery production in Iran and it was not revived until recent years.
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