Typology of shape and design in Silhouettes of the Islamic Middle Ages (6th-7th centuries A.H.) Preserved at the Cultural Institution of Museums of the Mostazafan Foundation

During the first half of the 5th century A.H. (10th century A.D), the Seljuk rose to power and conquered vast Islamic territories from the Jeyhoon River to the Mediterranean Sea, which led to the downfall of feudalism and the revival of the Sassanid kingdom. With political stability and economic prosperity, the pottery industry flourished and advanced in terms of production and decoration. The creation of a multitude of potteries with diverse colors and intricate decorations was facilitated by the endorsement of courtiers and the upper classes, along with the acquisition of artistic products and the establishment of trade and cultural connections with China. This flourishing artistic movement was further amplified by a meticulous comprehension of color, exceptional decorative skills, and an ardent commitment to achieving equilibrium and harmony. Consequently, these captivating potteries not only contributed to the advancement of other artificial arts like metalwork, painting, and book design but also played a pivotal role in their growth.
       During the 6th century A.H., porcelain was manufactured using a combination of materials such as quartz powder, soft soil, and potash. This mixture resulted in a white base that served as a canvas for a wide range of decorative motifs. The primary hub for porcelain production was Kashan, while Neyshabur, Samarkand, and Bamyan also played significant roles in its manufacturing. In this era, an alkaline glaze was preferred over lead glaze due to its compatibility with the porcelain body. This glaze imparted a beautiful turquoise-blue color to the earthenware surfaces, and its smooth, glass-like texture allowed for intricately engraved designs to be created.
Among the types of engraved decorations in the 6th century, Silhouettes stand out due to their shadowy appearance. These designs were crafted in black color beneath either ivory or turquoise blue glaze, making them truly unique. This pottery represents a shift from traditional to contemporary styles and draws inspiration from slip-painted pottery. It shows an array of geometric, botanical, zoological, and anthropomorphic patterns, layered in a captivating manner. The Seljuk to Ilkhani period is renowned for its exceptional pottery, and this particular technique is considered a prime example of its excellence. Interestingly, it also displays some similarities with Toreutics art. Engraving ceramic underglaze to create figural motifs and calligraphy is a complex and challenging process that involves removing parts of the glaze under the turquoise and ivory glaze to achieve the desired black color effect. In addition to engraving, underglaze painting is also utilized for the silhouette pattern, which is less common than the carved pattern. The underglaze is adorned with turquoise, blue, azure, and transparent cream inscriptions, as well as simple plant or geometric motifs in small sizes.
       Based on research and the evidence in museums of Iran and other parts of the world, silhouette pottery can be categorized into nine distinct groups. These groups include bowls, pitchers, vases, Albarello (medicine containers), money pots, plates, mugs, and jars, listed in order of their abundance. Each group has its own unique dimensions and details, making them different from one another. Furthermore, these groups can be further divided into subgroups based on their specific uses.
       Kashan, Ray, Gorgan, Neyshabur, and Sirjan are widely recognized as the primary centers for the production and discovery of this particular style of pottery. Furthermore, recent archaeological excavations and surveys conducted in various sites, including Zolf-Abad in Farahan, Tahayq in Khomein, Moshkin-Tepe in Zarandieh, Aweh in Saveh, Anda-jin and Zino-Abad in Hamedan, and Qal´ eh Sang in Sirjan, have yielded remarkable examples of silhouette pottery.
       Different types of decorative elements are incorporated into the artwork, encompassing, anthropomorphic, zoological, mythological, botanical, geometric, and calligraphic patterns. Additionally, a wide range of decorative designs like banquet scenes, romance scenes, hunting scenes, flowers, plants, and Persian poems are utilized. The majority of human figures are depicted on the ivory glaze, engaging in activities such as dancing, sitting, riding horses, and playing music. These figures are often portrayed without intricate facial details. Animal figures, on the other hand, consist of horses, deer, rabbits, ducks, fish, hounds, wild animals, and birds in mid-air.
Mythical creatures such as the sphinx, griffin, and harpy are formed by combining the unique characteristics of various animals to create a symbolic concept. Abstract botanical designs, inspired by nature, are seen in works by Khata'i, Eslimi, Toomari, and Tak. The motifs on containers can be either raised or drawn inside or outside. Geometric patterns, such as stripes, are often used as space dividers and add to the beauty of a vase. Kufic calligraphy, Naskh-e-Shekasteh, and Thulth are commonly engraved on the inner body, bottom, and outer edge of containers, often with themes of good prayer and hadiths for the holder.
       At the Cultural Institution of Museums of the Mostazafan Foundation, a total of twelve potteries have been analyzed. These containers come in various shapes such as bowl (3), bottle (2), pitcher (2), money pot (1), mug (1), vase (1), jar (1), and plate (1). The pottery designs feature a range of patterns including plant, animal, and bird, human, mythological, calligraphic, and geometric figures. Among the eleven decorated dishes, there are Eslimi designs such as Dahan-Azhdari, floral (goldar), ivy (pichak-dar), leafy (barg-dar), and palmette (Nakhl). There are six samples adorned with depictions of a horse galloping and racing, a rabbit leaping, birds in a face-to-face stance, and a horse with a rider in motion. The shattered container shows a composite figure, featuring a lion's body, an eagle's wings, and a human head (known as a Sphinx). This amalgamation of distinct characteristics from various creatures gives rise to a remarkable phenomenon, embodying the strength and finesse of these creatures. There are two instances where inscriptions in Knotted Kufic Script (Kufi-e-Gereh-Dar) and simple thulth (Thulth-e-Saddeh), can be found. These inscriptions contain the phrases Al-Dawlah, Al-Ezza, and Al-Karamah Lasahiba. Additionally, all the vessels are adorned with narrow or thick horizontal and vertical bands, small asymmetrical rhombuses, vertical wavy lines, thick grooves, and fragmented lines.
       This research aims to identify the stylistic and structural features of Silhouette pottery in the 6th and 7th centuries AH (10th and 11th centuries A.D) and analyze the concepts of its motifs. The study was conducted using a descriptive and data analysis method, examining the physical and tangible aspects of the pottery as well as conducting comparative library and documentary studies. The main question of the research is how this type of pottery is made and decorated, and what are the concepts behind its motifs? Twelve samples of Silhouette pottery from the Cultural Institution of Museums of the Mostazafan Foundation were used as the basis for the research. The results show that in terms of typology, the pottery includes bowls, vases, pots, albarellos, jars, plates, money pots, and pitchers. The main centers of production and discovery were the cities of Kashan, Rey, Jorjan, Neyshabur, and Sirjan. The decorative elements include geometric patterns (12 cases), botanical motifs (11 cases), animal motifs (6 cases), calligraphies (2 cases), anthropomorphic motifs (1 case), and mythological motifs (1 case).