Analysis of Form and Decoration of the Safavid Hookah Bases

With the invention of hookah, under the influence of the Iranian art, which were getting adorned the practical and everyday objects, the hookahs were also gotten to be decorated. Among the various components of the hookah, the base is of particular importance, as the type of hookah is determined by its base. Thus, it was important that the base of hookah to be designed, made, and decorated in such a way to accomplish both the aims of practical use and aesthetic function. Since the advent of the hookah dates back to the Safavid era, there remain tremendous varieties of hookah bottles from this age that are regarded as unmatched as pottery of the period. The present study investigated and classified the shape and ornamental patterns of twenty indigenous hookah pot specimens of this period. They were then compared with some similar Chinese samples (with a different application of hookah pot) to address the possible effects of Chinese pottery art on the selected Iranian artifacts. To this end, the scope of the study concerned on recognition the different forms of Chinese pots in Safavid era, types of motifs and decorative themes on them, as well as their characteristics. The results of the research would contribute to the identification of possible sources of inspiration in shaping and selecting decorative patterns on the Safavid hookah pots. This is a descriptive-analytical research, and data were collected using the documentary and library methods. Findings suggested that Safavid hookah bases were made in various forms, often in the form of pear fruit, inspired by “candy” dishes. They mostly had vegetal, arabesque, animal (often bird) and rarely human patterns in blue decorated on a white background. Moreover, Kerman was the most important center to produce this form.