Although Iranian pottery has attracted the attention of art researchers and many studies have been conducted in this area, there is still the need for research in this regard. Islamic art scholars divide Iranian pottery into different categories according to historical periods, production centers or methods. Lajvardina is one of the most noticeable decorative styles in the Iranian pottery about which no comprehensive study has been carried out yet. These earthenware products have unique physical and technical characteristics thanks to the Iranians' great experiences in pottery making. The most notable feature of decoration in lajvardina is the use of a gold sheet and a background with the lajvard (lapis lazuli blue), turquoise or white glaze, painted in red, black and white. In most cases, the original patterns were gilded and their edges were painted in red. The gilded decorations in the Iranian pottery through the use of gold glaze or sheet were common during the Seljuk period, and lajvardina is not distinct from the other products of its own age in terms of its glaze and body formulation. The combination of these elements is among the visual features of lajvardina, with no history in Iranian art before this era. The present developmental research, whose data have been collected using library documents and resources, used the historical analysis method to determine the causes of the emergence, evolution and abolition of lajvardina in Iran and other countries. The results suggested that lajvardina life in Iranian pottery is limited to the late seventh century until the late eighth century. The construction of the single-colored lajvard and the combination of the technical features of Mina'i and some Iranian pottery traditions led to lajvardina. Eventually, lajvardina replaced Mina'i completely at the end of the seventh century. What makes it distinct from the other pottery decoration methods used in Iran is its use of distinctive color ranges, geometric patterns, and lajvardina gilding. Soltaniyeh, Hasanlu, Neyshapour, and Siraf Port are among the regions where lajvardina was discovered. However, the greatest Iranian lajvardina works were obtained from Abaqa Khan's Palace located in Takht-e Soleyman. These discoveries are not limited to Ilkhanate Iran; a few remains of these earthenware products have been found in Jordan, Egypt and Italy as well. Archaeologists' findings are indicative of lajvardina common use in Golden Horde regions, remarkable in terms of number, diversity and geographic distribution. The trade relations between Italian and Egyptian businessmen and the residents of Golden Horde justify the discovery of lajvardina remains in Italy, Egypt and Jordan. Since there has been no evidence of the construction of these works in areas outside the boundaries of Ilkhanate Iran, the lajvardina under question cannot definitely be considered to be local products. The decline of the Ilkhanate decreased the lajvardina production, the last major use of which was shown in Samarkand, dating back to the late eighth century AH. The production of lajvardina pottery in the late eighth century became an old technique.

During the 7th-8th centuries AH, Sirjan was one the most important and valid cities in the Kerman region which was ruled by local states known as Qarakhtaian and Al Mozafar. Not only Sirjan is mentioned in many historical sources but also multiple excavations have been done in the city's old historical context. Most of the archaeological studies on this city are limited from early Islamic era until Saljooghi era and the middle centuries especially 7th-8th centuries AH are less concerned. Therefore, the main goal of this article is to evaluate the city's status during 7th-8th centuries AH based on historic and archaeological facts. In this research we used descriptive-comparative approach, historical analysis and in order to gather the essential data, we applied field studies and valid documents to answer this question: What were the most important historical and archaeological transformations in Sirjan during 7th-8th centuries AH? As a result of our studies, we found that between 6th and 9th centuries AH the old city was relocated and expanded towards west to the current Ghal-e Sang region. Nevertheless, the city was still considered by several governors and because of this matter, numerous defensive structures was built all around the city. Also by studying various types of potteries in this era of Sirjan, we found that the city enjoyed social-economic dynamism and the residents used diverse types of potteries; manufactured inside and outside the region. This point indicates the existence of an extensive commercial relations with other domestic urban centers and possibly with foreign cities. Some of the remarkable types of potteries in this era of Sirjan are Zarin Faam, Sultan Abadi, Lajevardineh and Seladon.

Cultural Iran according to historical evidences, archaeological remains and cultural features such as language, ceremonies and customs, it covers a wide range from Central Asia to parts of the Indian subcontinent to the Caucasus and Asia Minor and throughout the Middle East and parts of the north of Africa. Throughout the history of the governments that ruled the Iranian plateau, at certain points in time have dominated a large part of the ancient world that, while political domination, have left their cultural influence directly and indirectly in various aspects in these realms and areas. These effects on the mentioned areas are so deep that they can be considered as part of the cultural Iran. Material evidence of this influence and cultural influences can be found in the material remains left in the form of cities, as well as the character of buildings, ancient hills and historical sites and their dependent effects related to them, including the formation and patterns of pottery, architectural decorations, as well as cultural influences such as language, clothing, customs, and mythology. In this regard, trade and exchange in the form of transfer of artificial products from Iran to other lands also has a particular importance. In this regard, some pieces of tile decorations in Qalhat site were obtained during the archeological survey of the Iranian mission, which are clear examples in this field. The ancient port of Qalhat in Oman is one of the lands that owes part of its history to the presence of the Iranian element there; According to evidences, the presence began at the beginning of the historical period of Iran, ie the Achaemenid period, and has continued for centuries. In this article, we are going to introduction this ancient port to answer the question that tile decorations obtained from the archeological survey of the Iranian mission how confirm the trade and cultural exchange between Iran and this port ? Another question is: from which center or tile production center in Iran have been these tiles traded? This research is descriptive historical type and seeks to answer the research question with an archaeological approach based on evidences and remains from survery and library studies, including refering to historical texts and other sources.

The Neo-Assyrian Empire, a significant power in the ancient Middle East during the first millennium BC, left behind a legacy of pottery types that serve as crucial archaeological evidence. Previous studies have categorized Assyrian pottery into two main groups: “Standard ware” and “Palace ware.” This research focuses on identifying the characteristics of Neo-Assyrian pottery in the western and northwest regions of Iran. The examination of Neo-Assyrian pottery across the western, central, and eastern territories of the empire has been conducted and contrasted with that of Iron Age sites in the western and northwestern regions of Iran through the utilization of library research methodology. The inquiries that necessitate responses pertain to identifying the characteristics of Neo-Assyrian pottery in the western and northwestern areas of Iran, as well as determining the specific types of Neo-Assyrian pottery discovered in these areas. The findings demonstrate the presence of Neo-Assyrian “Standard ware” in the western, central, and eastern sectors, while “Palace ware” remains absent in the eastern territories. The analysis of Neo-Assyrian “Standard ware” typology and its comparison indicates its prevalence in the west and northwest of Iran. Given the significance of recognizing Neo-Assyrian pottery for scholars studying the Iron Age in these regions, a systematic and comprehensive typological framework for common and distinctive Neo-Assyrian pottery has been established in this study.

An Insight into the Impressed Decorations on the Pottery from Zolfabad, Farahan, Iran Mohammadreza Nemati Research Institute for the Iranian Organization of Cultural Heritage, Handicrafts and Tourism Mohamadreza1973@gmail.com Esmail Sharahi Markazi Province Cultural Heritage, Handicrafts and Tourism Directorate sharahi.esmaiel@yahoo.com Ali Sadraei Situated 48 km north of Arak in the Farahan plain, Zolfabad is one of the largest archaeological sites of the Islamic period in the Iranian province of Markazi. It has been identified as a large rural settlement and a center for pottery manufacture in the vast plain of Farahan, spanning the 6th-13th centuries AH/AD 12th-19th. During the two seasons of excavations evidence on pottery production was recorded at the site. Among the attested vessels and sherds, the Ilkhanid material with impressed decorations is of particular importance in that they bear a diversity of floral and animal motifs as well as inscriptions. The present work represented an attempt to explore the correlation of these motifs with the related decorative designs from the pre-Islamic as well as the Islamic times, but also to study the Iranian archetypes on these pieces and their combination with the Mongolian-inspired motifs. The study built on both fieldwork and library research. Close affinities were observed between the motifs in the Zolfabad assemblage and those used in the pre-Islamic Iran, and the latter’s superiority to the designs inspired from Iran’s post-Islamic culture was corroborated. The case study of the impressed ceramic subunit from the site, which in light of the attested indications were produced locally, evince a continuation of the Iranian archetypal designs. Despite the dominance of the Islamic culture and the preponderance of the Shiite doctrine in the Ilkhanid Farahan, the impressed motifs on these ceramics reflect a wide application of Iranian symbolism and an imagery tradition enrooted in the pre-Islamic culture. Although due to the Islamic ideological tenets the earlier motifs were imparted new concepts, those in our study assemblage one does not discern a domination of the Islamic culture on the motif Repertoire except for a few islimis (arabesque) and khatays (floral patterns), which are among the most ubiquitous designs of the Islamic art. The patterns decorating the ceramics under study are by no means explainable by the Islamic culture and relate in every aspect to the pre-Islamic concepts. The same was true for the Chinese-Mongolian culture. In particular, in the wake of the Mongolian conquest of Iran the Chinese motifs to a certain extent step to a fore, but their representation in the Zolfabad assemblage is far inferior to the Islamic motifs. At any rate, the use of various motifs as specific symbols and the use of Persian script, etc. bear a testimony to the highly intensified importance the Ilkahnid residents of Zolfabad placed on the indigenous motifs and the deep connection of the local artisans and population with the rich pre-Islamic native culture. Keywords: Zolfabad, Impressed motifs, Ilkhanid period, Iranian culture. Situated 48 km north of Arak in the Farahan plain, Zolfabad is one of the largest archaeological sites of the Islamic period in the Iranian province of Markazi. It has been identified as a large rural settlement and a center for pottery manufacture in the vast plain of Farahan, spanning the 6th-13th centuries AH/AD 12th-19th. During the two seasons of excavations evidence on pottery production was recorded at the site. Among the attested vessels and sherds, the Ilkhanid material with impressed decorations is of particular importance in that they bear a diversity of floral and animal motifs as well as inscriptions. The present work represented an attempt to explore the correlation of these motifs with the related decorative designs from the pre-Islamic as well as the Islamic times, but also to study the Iranian archetypes on these pieces and their combination with the Mongolian-inspired motifs. The study built on both fieldwork and library research.

In the Islamic period of various arts, including pottery, great progress was made, along with unglazed potteries; a variety of glazed potteries was produced. Among the pottery in the Islamic era, is the Sgraffito pottery (carving under the glaze). in this study, 26 pieces of pottery were studied from Shahkouh and Lembassar sites. Of these, 5 samples of non-glazed pottery are related to Shokouh's kiln, which is indicated by the Kou (Koureh) mark in the result table. 8 samples of pottery are collected from the range around the kiln, shown in the table with the o38 (trench’s name was O38) mark. 7 samples of pottery are collected from different sections of Shahkouh site, which is indicated by the Moh (Mohavateh) on the table, and 6 samples of pottery belong to the Lambesar castle, which is indicated by the symbol Lam in the results table. Elements of Mgo and So3 in the samples of the kiln can be useful for identification of samples. Especially sulfur trioxide (So3) as an indicator of pottery inside the furnace that was produced in Shahkouh itself. In addition, the authors used the statistical study and components analyses of these elements. The purpose of this study is to identify the elemental composition of pottery in the kiln and glazed pottery of Shahkouh and Lembesar. The questions raised in this research are: What amounts of the Alamut’s Sgraffito pottery are produced at Shahkouh site? The results of this study showed that the chemical structure of unglazed pottery obtained from Shchokh's kiln differs from that of Shahkouh's Sgraffito pottery and compares them with the Lambesar's Sgraffito indicating their different structures. As a result, it can be admitted that unglazed potteries that was extracted from the Shahkouh kiln was local production, but Sgraffito pottery was not produced by Shahkouh and Lembasser; Sgraffito potteries are produced elsewhere and it was imported into the sites.

The genre of Luristan ware, which was first emerged in the early first millennium BC, was distributed in the Pish-Koh region. The typology of this ware was not clear because of the lack of excavation and surveys on the first millennium BC site of the region. Only painted ceramics of genre of Luristan ware, known as Baba-Jan III, had been well introduced. Regarding the lack of comprehensive typology for the genre of Luristan ware, many suggested pottery typologies and relative dating for the first millennium BC sites of Luristan were unreliable. According to the results of the several new-excavated sites containing genre of Luristan ware and the author’s survey in the Pish-Koh region, it is possible to suggest a comprehensive typology for the genre of Luristan ware for the first time. Based on some factors such as manufacturing, forms, paintings, and hardness, genre of Luristan ware can be divided into three groups: rough ware, medium ware, and fine ware. These wares are mostly in simple and painted forms and some with application decorations. The result of the research showed that the tradition of genre of Luristan ware was common in the early first millennium BC in the Pish-Koh region. This research also indicated that the genre of Luristan ware was distributed on a broad scale. In this type of pottery, the shape, size and smallness of the designs best match the shape of the container. Hand-lit tea pots are found only in cemeteries that seem to have a ritual application. Jars are found in government areas such as Baba-Jan tape. Ordinary simple dishes are also more common in nomadic villages. Since the main and largest amount of the genre of Luristan ware has been documented from the royal place of Baba-Jan, it seems that this place was a center for distribution of this ware. The appearance of this ware may indicate a political-cultural unity in Pish-Koh during the early first millennium BC .

Considering the priority of time, obtained potteries in Aveh cover prehistory and pre-Islamic and Islamic eras, most of which belong to the Ilkhanid period. One of the main objectives of this research, along with introducing and analyzing the paintings of the Aveh's lusterware, is the recognition of the production origin of such containers in this district. The main research questions are as follow: What are the main decorative drawings on the Aveh's lusterware?
How much similarities and differences exist between decorative drawings on the Aveh's lusterware and the patterns of decorative paintings on the potteries belong to other parts of Iran?
Results show that decorative paintings on the Aveh’s lusterware could be divided into human, animal, herbal ad geometric patterns. Despite the similarities of these patterns with the other pottery-making centers, and contrary to differences in women's face including discrete eyebrow, more fitness in face, wearing a special kind of crown by them, and existence of a blue light of corona around them, and, furthermore, finding the traces of pottery production in this area such as boiling furnace, indicate that most probably, Ave can be regarded as the main center of producing such monuments. We hope this investigation starts a new way towards the outspread realm of producing lusterware in Iran. This research has been constructed using descriptive-analytical methodology and based on library and field studies.

This research has been done, with the purpose of reconstructing the glaze manufacturing technology based on historical formulas with an emphasis on the carved pottery of the middle ages of the Islamic period and based on the experimental- technical method. The main questions are: 1) What was the process of development and formation of sgraffito pottery until its peak? 2)According to the available information regarding the technical operation of sgraffito pottery, how can it be revived? In this article, the history and techniques of sgraffito pottery and its developments in Iran, as well as the stages of making scratched pottery, with an emphasis on the Aqhkand type pottery, are discussed and based on this, by designing experimental-technical tests, prototyping, and testing the body of pottery and glaze has been carried out, based on observations and visual study Aqhkand pottery collection. The results showed that by considering some factors such as: coordination of the appropriate clay body, the coordination of white slip with the colored glaze, the coordination of the colored glaze with the transparent glaze coating on the body of pottery controlling the formula and amounts of the materials, the desired glaze can be restored and revived.