نشریه هنرهای صناعی اسلامی
سال چهارم شماره 2 (پیاپی 5، پاییز و زمستان 1398)

Geometric shapes and motifs are a combination of the human spiritual mind which sees the existence of beautiful and paints a historical civilization through this vision. The geometric motifs are an expression of the rhythmic and balanced human beings possessions when the human being wants to imagine beyond the present and create a world full of love. The patterns/shapes are the basis of artworks and give a great prominence to it. In this paper, it is struggled to combine and analyze discussions and statements along the fractal geometry approach of Herat embroidery in order to determine the impact and effectiveness. The researcher intends to give a brief information about embroidery for a comprehensive understanding, and then to analyze the embroidery patterns of Herat and study them from the perspective of fractal geometry. Although this traditional art is a part of the tangible culture of Afghanistan, the use of the geometric structure in these embroideries shows the originality of art and culture of ancient Herat. Therefore, the study and analysis of this feminine and primitive art can be a useful step in the direction of the ancient Herat art and culture studies. Embroidery is one of the ancient methods to decorate the surface of fabric or clothing and is one of the traditional arts of Afghanistan, which has a great reputation and ancient history that has special interests in all countries. In Herat embroidery we can see a type of geometric motifs which adorns the male and female clothing in Afghanistan especially in Herat. Undoubtedly, the essence of each of these products shows the skill, taste, initiative and creativity of Afghan women. The majority of these women live in remote villages and hamlets and are engaged in this craft with a special interest in the fractal geometry Unusual geometric shapes that are most important feature of them are self-similarity and repetitive formation. These features can also be seen in the designs of these embroidery in Herat. The main questions raised in this paper are: What is the relationship between the Herat embroidery and the fractal geometry patterns? What are the similarities and differences between fractal shapes and embroidery patterns in Herat? The research in this paper is based on descriptive - analytical - and adaptive methods. The library method, field observations and interviews with embroiders in Herat were used to generate and gather the relevant information. The most important part of this article, which is the embroidered patterns of Herat, was in the form of an interview and to get the basic knowledge that has been taken from local customs and traditions, travel has been made to distant cities. After collecting the data, the results showed that the embroidered patterns of Herat have similarities and differences with the fractal geometry patterns and motifs. However, their similarities are far greater than their differences. In general it can be stated that these patterns by having the features like repeated formation, self-similarity and zooming to infinity are being counted as part of the fractal geometric patterns.

Iranian old paintings, especially ones which appeared until the beginning of the 11th century AH are one of kinds of illustration marking the authentic Persian poetry and literature. Persian authoritative literary texts were main reason for the fame of ancient Iranian paintings. Under the supervision of powerful kings and rulers, Iranian painters turned important parts of Persian literary texts and poems into paintings. These paintings were placed in the form of illustrations between the pages of books. The most important texts used by Iranian painters included books such as Shahnameh by Ferdowsi. Other books such as Golestan and Bustan by Saadi Shirazi, Lily and Majnoon, Khosrow and Shirin, Haft Peykar, Iskandarnameh and Makhzan al-Asrar by Nezami Ganjavi, Haft Orang by Abdolrahman Jami and Hafez Shirazichr('39')s poetry collection have been sources for other painters. Due to the poetic nature of the texts, these sources introduced the imaginations and daydreams in the minds of Iranians into the painting space. Therefore, many features of Iranian painting are contrary to the real world. The strong link between Persian painting and Persian literature has led to the hypothesis that Iranian art, inspired by the Persian allegories, depicts the sky in a golden or yellow color and night sky in azure color. By this assumption, the study of the colors of the sky in Iranian art and its literary, content and aesthetic roots are the object of the present study, but due to the large number of works of Persian painting, this research has identified these features in the works of one of the most important painters of Iranian history. His name is Sultan Mohammad Painter. Among the works attributed to this artist, seventeen works certainly belong to him, and all of these seventeen works have been selected as examples of this study. By examining the color of the sky in these images and matching colors with narratives about the day or night of the occurrence of events, colors used for day and night skies, two colors of gold and azure were detected. Similarly, in most of the paintings, the full compliance of the writer with the narrative of the text or the followers of the typist from the dominant context of the text, was determined to express the day or night according to the story time which is important and palpable. But in a few cases, the painter who has paid a little or almost no attention to the literary text and relied on his artistic or aesthetic discovery has gone a different way, opposite to these rules; this was the path that came from the lack of awareness of the spaces that led to the creation of images in the halo. This left us left with a historical ambiguity. In this way, the present study, through a descriptive and analytical research and with a quantitative and qualitative approach to the works of Sultan Muhammad, has identified the roots of determining the colors of golden and lazy colors for the heavens in Persian poetry and literature, and the aesthetic criteria of this assignment together with the maximum adherence to the descriptions of literary texts and the minimal compliance of the personal taste of the typographer.

The study and analysis of the Great Mongol Shahnama and Jami al-Tavarikh paintings has often been done with emphasis on related texts and narrations. In most of the studies and researches conducted in this field, researchers, both domestic and foreign, have paid less attention to the signs outside the narration of Shahnama and Jami al-Tavarikh. However, it seems that the signs in the text of Ferdowsichr('39')s Shahnama and Jami al-Tavarikh are very different from the visual signs of the Great Mongol Shahnama and Illustrated version of Jami al-Tavarikh according to many cases. While the Ferdowsichr('39')s Shahnama has a literary context with axial attention to the lyricism that appeared in the Iranian pretext, Jami al-Tavarikh is basically a historic source in which the pictorial language of the Ilkhanid context remained the main focus of attention. The discourse has been formed around the presence of the Mongols in Iran as a larger semiosphere, two other semiospheres, namely the Iranian semiosphere and the Turkish-Mongol semiosphere, are placed inside it. Therefore, it is thought that if the reading of the paintings of the Great Mongol Shahnama and Jami al- Tavarikh is based on the semiosphere of «Ilkhani Painting». When analyzing the visual signs, we noticed that signs outside the narrative of Ferdowsi (Iranian semiosphere) and the narrative of Jami al- Tavarikh (Ilkhani semiosphere), means that the mythical signs and Shamanistic beliefs relate to the Turkish-Mongol culture (Turkish-Mongol semiosphere). In this case, perhaps very valuable and thought-provoking results will be available to researchers and audiences in the field of Ilkhanid painting (Miniature) and so new perspectives for future researchers emerge. It is quite possible to pinpoint an Ilkhanid background to both the Demotte Shahnama and Jami al-Tavarikh. A fresh look at the Great Mongol Shahnamachr('39')s book paintings is essentially based on the semiosphere approach in a way that epic narrations from the general texts of Shahnama and Jami al-Tavarikh have been considered as a non-text and filtered through the Turco-Mongol culture in an implicit way or even accepted an explicit transsemiotic mechanism and introduced in a completely varied pictorial language as a result of trans-continental influence. The aim is to study those codes related to the "Mountain" in the two stunning book paintings from the Demotte Shahnama and Jami al-Tavarikh that are entered into the realm of the Ilkhanid semiosphere through the trans-continental cultural translation.This research has been done in a descriptive-analytical way and it uses library studies. The aim of this study is fundamental and uses the methodology of semiotics and the cultural semiotics approach of Yuri Lutman. The main findings of the present study indicate that there are significant signs about the “Mountain” in the paintings of the Great Mongol Shahnama and the Jami al- Tavarikh which are related to the mythological concepts of Turkish-Mongolian culture; This results clearly suggest that the "Mountain" in the above-mentioned book paintings. Moreover, it is strongly related to the Turko-Mongol mythical attitudes and symbolically represents various concepts such as the herochr('39')s shelter, the main source of creation and fertility, the burial location of political and religious elite, the place where Tengeri is accessible to communicate, and the connection corridor to reach the other world.

In Iranian paintings, both signs of physical beauty and feminine spiritual beauty have emerged with applications of artistic and design principles. In harmony with literature, painters have attempted to show the concept of women with good outward and inward qualities, and finally to present a beautiful and chaste image of them in their paintings. According to Iranian literature and paintings, a considerable part belongs to female myths such as Layla, moreover with Majnun, which is the cause of numerous literary and artistic works. In fact, the fame of the story of Layla and Majnun and their love, was born owing to of Iranian poets. Iranian paintings and poems have an old relationship, insofar as they have merged with ancient Iranian wisdom and Islamic mysticism. In visual art, the artist tries to picture his or her views of a particular subject, which is the set of visual messages created a visual connection. The concept of Layla (appearance and nature) is significant in drawings of painters such as Kamal Al-Din Behzad, Mir Khalil Naqash, Mozaffar Ali Torbati and Qasem Ali. The aim of this research is visual analyzing the role of Layla and her postures in one side and the conformity between poetry diwans of Khamseh of Nezami and Haft Awrang of Jami and drawings created during Timurid and Safavid dynasties, on the other side. The role of Layla in drawings of the mentioned periods and diwans was analyzed to figure out the compatibility and incompatibility points between drawings and poems descriptions. In addition, this research tries to answer two questions. First, what are the visual specials of Layla in the diwans of Khamseh of Nezami and Haft Awrang of Jami during the Timurid and Safavid dynasties? Second, how compatible can be drawings and original poems descriptions? According to the paintings created during mentioned dynasties periods, there are some paintings which the Layla was depicted according to the poet explanation while in some others the painters entered their ideas into their works. Therefore, in some paintings there is huge difference between poems description and the drawings. Layla was portraited as a virtuous and charm girl, who has bright skin, long and tiny hands. As a rule, she was drawn at the center of paintings and spotlighted but always looked at downward. In most of the cases, she was sitting in heavy and dignified posture but in others she had special position which is related to the location and surrounding atmosphere. According to poems, Layla was a modest girl and in most paintings, Layla was drawn with her servants while the aristocratic temperament was not seen in her. Whereas many mystical sects existed during mentioned dynasties, the most painters often portrayed a person with some interferences which had an ideological and religious background. Therefore, it is obvious difference between drawings and the poems descriptions. In addition, to understand the poems meaning, knowledge of literature and getting help of some professors are required. The notable point in the poems mentioned by professors were their tension in the meaning, hence, the consensus idea were applied to understand the meaning of a poem.

The Marashian government (Marashieh) had a Shia religion, they ruled from 760 to 906 AH in the Tabaristan region (now it is Mazandaran). During this period, the construction of mausoleums, shrines and elders of the Marashi government flourished. Unlike modern metal tombs most of them have wooden artifacts same as are in cenotaph mausoleum. These cenotaph mausoleums often have decorations with inscriptions. Fortunately, a number of them have been preserved due to the beliefs of Mazandaran region inhabitants, in accordance with the Shia religion. There is a need to say, that the Shiite religious rules of visiting tombs have caused the wooden artifacts preservation inside these buildings. Of course, another reason for the multiplicity of wooden cenotaph mausoleum is the abundance of wood as a raw material. Cenotaph mausoleums are often decorated with techniques such as gherh chini, wood carving with geometric and plant motifs, as well as inscriptions on them, the name of the builder, the date of construction and the financial patron. It seems that the use of these decorations on the Cenotaph mausoleum has been different, so that there are no similar technical and decorative examples. It seems that artists have imitated or imitated each other over the years by seeing each otherchr('39')s work, and in some of them, by adding individual creativity, has led to the emergence of new forms and decorative elements. Currently, many of these works have been destroyed or stolen for various reasons, which further highlights the need to address them. Based on this, the main question of the research can be posed in such a way that the 9th century AH wooden Cenotaph mausoleum in Mazandaran have undergone a transformation in the field of decorations and inscriptions. In this regard, the main goal is to study the process of change and developments in the construction of the 9th century AH wooden tomb in Mazandaran by relying on components such as: decorating techniques, framing type, composition, motifs and inscriptions. Based on the accessibility and historicity of the grave fund, 15 samples from different cities of the province are considered as the statistical population of the research. After explaining how the Marashian government emerged and describing the mausoleum construction motifs, and consequently the fund of wooden cenotaph mausoleum, each of the specimens is examined and all their characteristics are mentioned at the end of the table. As a result, it seems that the spread of the Shiite religion by the Marashians and the protection of religious and political figures in the form of the construction of the mausoleum tower can be one of the main reasons for the multiplicity of wooden cenotaph mausoleums. Collectively, in all cases studied, such as: general dimensions and form, framing, composition and type of drawing of plant and geometric patterns, structure of inscriptions, as well as technical items such as the shape of the engraving procedure, background texture and painting on wood we suppose that in the later examples of the works, in all cases, the carpenters achieved considerable maturity and perfection in the construction and decoration of the wooden Cenotaph mausoleum.

Knotting designs ornaments and geometric patterns in Islamic art have many common features. Perfection and implementation of knotting designs ornaments and the use of geometric patterns in Islamic Iran both refer to the Seljuk period. Qajar-era Chinese knot ornaments and geometric patterns had many ups and downs connected with the arrival of wild-Maby. During that period Iranian culture was undergoing many changes. Masr Qajar art and architecture of Iran with the exception of a few examples stopped being connected with the government. The most brilliant examples of the Qajar architecture are palace-fortress in Chaharmahal and Bakhtiari Province Chaleshtori (Dezzak Castle). Under their arches, there are beautiful examples of Knotting designs with geometric motifs made of wood, metal and mirrors. Local influence on these samples is obvious. In this regard we can see dramatically more complicated and elegant interior designs and decorations on the top of porch roof. The major reason is that the maintenance of the interior to the exterior decorating easier. Iranian art has always created eternal beauties with thought and knowledge. Along with a beautiful understanding of mathematics and geometry, it has succeeded in creating geometric and decorative patterns such as porcelain knots. Chinese knot is an art from the Islamic era that has adorned magnificent and beautiful buildings from all over Iran and has given a valuable effect to the interior and exterior decoration of buildings, especially roofs and doors. This art can be seen in areas that have been safe from foreign invasion and have remained intact, such as Chaharmahal and Bakhtiari province. A beautiful art that has been able to impress Bakhtiari readers and the Lorish people and decorate their buildings and palaces is in this style. Extensive and relatively specialized research on cultural heritage and industrial arts in Chaharmahal and Bakhtiari province took a serious shape after the establishment of the Faculty of Arts at Shahrekord University. This article is the result of the recorded studies of the authors of this article and other researchers of the same faculty, which has formed the history of this research. Regarding the castle palaces of Chaharmahal and Bakhtiari province, studies have been done in relation to the field of architecture. Less attention in construction and architecture was paid to the industrial arts. Most of the studies in this regard were done by handicraft students of Shahrekord Universitychr('39')s Faculty of Arts in student dissertations, but recent example is new and unprecedented with the approach of paying attention to the geometric patterns in this castle palace. Geometric patterns, in addition to geometric beauties, refer to immaterial and metaphysical matters semantically and aesthetically. The spiritual and non-figurative nature of these motifs, which are mainly in terms of visual games, fluidity and mental movement and summative rotations and moving the corners and angles with special mathematical and geometric features, in terms of sensory visualization full of fit, rhythm, movement and dynamics. Most figurative motifs and images cannot have such an impact. In terms of visual autopsy, the adherence of geometric patterns to the geometric cryptic nature of the pure elements of nature, especially the strange overlaps of parts to whole and whole to parts and the fit of the original patterns with the developed patterns that play more like magic and also wonder at the numerical and quantitative proportions in The patterns, which are mostly naturalistic and interpreted only in a bit of mathematical language, speak to the beauty and astonishment of these hidden aspects of nature. They eventually manifest themselves in the form of geometric patterns. When a circle alone can create countless roles and nodes without computational tools and simply by repeating similar situations and spreading it to all points where it can be placed anywhere in the circle, and everything we see fits perfectly. This is nothing else but the embodiment of the hidden layers of nature. This concealment, which remains mysterious with the image of the image, as long as it sits on the body of man-made products, spreads the same mysteries and magic, and impresses the things (products) with the spirit contained in the roles.

In Iranian art, the horse is a solar symbol of the spiritual radiance of resurrection and life, and Muslims associate it with happiness and joy. With the development of pottery in the Seljuk period and with a brief look at the pottery left from this period, the horse motif has been depicted in abundance in the form of scenes such as riding, hunting, war, and literary themes. The artists were able to depict the motif of a horse on pottery with different compositions with the use of enamel and glaze. Among these compositions, seven can be considered, such as balanced composition, symmetrical, radial, tangential circles, geometric background, concentric and horizontal circles. After examining the pottery of the Seljuk period, Kashan, Rey, and Saveh were among the most important cities in which these potteries were found. Twenty pottery samples were selected and examined in terms of background, composition, and subject matter based on these three cities. In the meantime, there is an obvious similarity between the paintings of Vargheh and Golshah and the images of enameled pottery, as if the painters had drawn these images. The image of a horseman, themes such as war, women riders, and horses in the form of constellations, as well as mythological subjects such as the winged horse, are popular designs of this period. In the meantime, the details of the horsechr('39')s body, such as the legs, tail, and mane have been considered. Horses on the battlefield often stand on their hind legs, but horses of rider women are a state of calm, and most of the time, one foot of the horse is forward. Horses in ancient fairy tales stand on all fours and are observers. Meanwhile, the tails of all the horses, along with their mane, have been shortened and woven. In this study, the presence of the motif of the horse as one of the main Seljuk motifs in these potteries has been inspected. Identifying the determinants of the use of the horsechr('39')s motifs is connected with answering notable questions such as: How has the motif of the horse in Seljuk pottery been worked? What themes are associated with the motif of horse in this period? It can help us to be familiar with the way of life and art of the people of that period. The research method has been descriptive-analytical, and the data collection method has been documentary (library). This research aims to study the horse motif in detail to find the roots of it and its uses in the pottery art of that period. The results of this research show that the Seljuk artist, relying on the works of previous periods, has tried to illustrate different themes, especially the horse motif. This motif is organized in the form of various themes and with different compositions on the pottery ground and conveys the importance and value of it in the Seljuk period.

Qajar painting influenced Iran’s painting with a new kind of illustrations originating from the past traditions. Art and cultural politics of Fath Ali Shah performs an obvious role amongst the influential agents and historical events in the era of Qajar paintings for a presentation of the concepts of power in the social, political and cultural arena. Fath Ali Shah’s patronage of the art alters painting’s direction as Iran’s painting moves to a new field of pictorial history. Thus the portrait and figure get special significance in the painting this period as respects the themes of painting have changed via the penetration and impression of the western art and culture, and the noblemen take possession of that to be part of their belongings. Its climax is clearly seen in the court noblemen portraits and figures that has originated from amalgamation and mergence of western and Iranian traditions .Those are portraits and figures that are for the peerage men, kings, princes, dignitaries and the king’s courtiers and attendants. To show women’s portrait starts from the Qajar dynasty, and their representation matters in this era’s pictures, and its presentation falls prey to change both in the shape and content. Women’s images were not widespread because of religious reasons and didn’t «boom» as much as men’s images. The purpose of this article is connected with cultural semiotics which analyse a woman’s portrait related to the period of Qajar paintings. And the female gaze is tantamount to the body function. This is a specific work of art because it is an image synthesized from several painting genres. This research interpreted pictorial elements in proportion together by an adaptive and analysis approach based on the shaped changes in this cultural and social period. We suppose that female gaze in this work of art, composed of several genres reflects changeable presence of the body’s action. The question is about the proportion between body and procession of the young woman’s look matching another details and elements of the image. Maybe the female gaze in this work was depicted as distinct from power of the male gaze. So this Qajar era painting provides an opportunity for different studying of this kind of pictures. Depicted portrait of the young woman contrasts with the separate images from women of this period of Qajar paintings. In conclusion should say that the representation and nature of the body was different in the images of this period. There is an exact relationship between the elements of the image, especially in case of the womanchr('39')s body that reflects a dominant female gaze. She was a court woman that has stood in the middle of the tradition and modernity. She shows the cultural tension of the Qajar era. Her female gaze predominated not only on the audience but also on all that by its proportion to other elements. There is a structural and formal relation between elements that demonstrates physical presence of her body and a different look.

Basic features of Iranian painting in the centuries after the establishment of Islam are in relations with Persian literature. Painting depicts various literary themes by showing persons and scenes of stories, it also depicts the poetchr('39')s or writerchr('39')s words in drawing and color. Persian literature paintings, and especially Ferdowsichr('39')s Shahnameh stories are one of the most important epic themes in the history of Iranian art. Iranian painting, like Persian poetry and literature, has its own special traditions and rules, so that the painter considers the rules, features, and special traditions of his own period painting in his literary portrayal rather than in the text. In Safavi era, artists in various workshops of Tabriz, Qazvin, Shiraz and Isfahan have created different versions of the stories of Shahnameh. One of the Shahnameh stories, which has been dramatized by the painters repeatedly during this period, is the story of "bringing the head of Iraj to Fereydun". Fereydun is one of the most prominent mythical figures of Iran. According to Shahnameh, he is the son of Abtin, one of the descendants of Jamshid who, with the help of Kaveh Ahangar, overcame the tyrant Zahak and imprison him on Damavand Mount. Then he becomes the king of the world and in the Shahnameh, Ferdowsi he is considered as pre-emptive king. Fereydun, the son of Abtin, and the captor of Zahak. At the end of life Abtin divides his kingdom among his three sons And since Iran, which is a better and bigger part, is given to Iraj, who is the smallest boy, and his two brothers, Salm and Tur, envied Iraj and killed him. Then the head of Iraj sent to Fereydun. This study, entitled "Comparative Study of Visual structure, “bringing the head of Iraj to Fereydoun "in the Safavi schools" was aimed to study visual themes and elements and also to compose graphic images with the common theme "Bringing the head of Iraj to Fereydun" Safavi depicted in workshops in Tabriz, Shiraz, Qazvin and Isfahan. Questions of this study are: 1) Which representative of Safavid period schools created images of bringing the head of Iraj to Fereydoon and performed their visual elements and visual elements? 2) What similarities and differences can be studied on visual structure of these images? Analyzing the features of the visual structure of these paintings, in addition to deep understanding of the graphs and the possibility of comparing the features of different courses we can obtain reliable information on the characteristics of these courses and allows them to be influenced by each other. Also by studying of 34 images and taking into account their date and specifications of the figures, 11 of them were related to the Safavi schools. Due to the fact that all the paintings were not available, the statistical bunch was limited to 7 pictures of different schools of the Safavi period. The graphs are described in terms of period of time to the elements of the paintings(content and subject) in real, symbolic and figurative terms, and from the perspective of visual arrangements, including visual elements (line, color, texture) and composition (golden spiral, square index , Golden rectangle and guide lines) and then analyzed. This research is based on descriptive-analytical method and comparative approach by using library studies and observing works to identify aspects of differences and similarities between graphs. The findings show that although different schools of Safavi have different characteristics, they are influenced by visual structure and each workshop is influenced by the availability of previous versions of them. In the above-mentioned graphs, due to the common theme, a single image has been used, but according to visual imagery and features of the workshop it has different structure. It seems to be a Safavi school image. This leads to a lower image communication with the Shahnameh original text, used for visualization of Shahnameh stories, instead of referencing the original text as the model.

The Seljuq arts is one of the most brilliant and prominent periods in Iranian art history, and considerable progress has been made in all the arts, including the pottery. The possibility of producing white bodies (white clay) due to the lack of kaolin was one of the Iranian potter’s long-standing aspirations. Iranian Seljuq potteries used a new artificial body called stone paste (Bādānehaye Jesmī or Sāngīneh). The use of new artificial bodies and alkaline glazes helped potters lead the coordination and uniformity of the composition of the body and glaze, which led to the development of Iranian potter’s decorative techniques and technical capabilities.  The present article uses a descriptive-analytical method to study and classify the pottery of this period and examine the technologies used in this period pottery, including the technology of making new bodies,  types of dishes of this period Introduces and classifies. This period most important pottery consists of Seljuq white wares, Seljuq colored dishes with a monochrome glaze, Silhouette ware, under glaze wares, lusterware, Minaiic wares. Seljuq white wares were decorated with various motifs. Seljuq colored dishes with a monochrome glaze available in different ranges of blue, turquoise, yellow, brown, violet, and purple. Seljuq colored dishes design shows improvement over previous samples. Silhouette ware, an intermediary between the art of older decorations and newer under glaze decorations, was skillfully done on newer bodies. Under glaze ware peak can be seen in this period that was done with two different painting methods under colored glaze and painting under colorless glaze, and its peak can be seen in this period. Lusterware, which is one of the most attractive decorations in the history of Islamic pottery. Lusterwares of the Seljuq period is divided into three groups: Monumental, Miniature, and Kashan. In the monumental style, the themes were large, and the way these themes were displayed was vivacious. The miniature style of lusterware is different from the style of monumental in painting methods, motifs, approach to decoration, and finally, in the form of wares style. However, some common elements and ideas Show that both styles are closely related to each other. Kashan style is the most brilliant style of lusterware. Although the range of subjects is more limited than other styles, however, this stylish best works are comparable in terms of design and composition with the illustrated copies of this period. Minai wares (Enamels) that were done with the painting technique on glaze are the final important pottery group of this period. The artist usually used seven colors in the glaze of these dishes. These seven colors were: red, brown, cobalt blue, green, black, white, and gold. The particular importance of this pottery is in the representation of some scenes and how they are performed. There is no background for enamel pottery, and it should be considered an Iranian invention.