نشریه بنیان هنر؛ جستارهای موزه داری، مرمت، باستان شناسی و تاریخ هنر
سال دوم شماره 1 (پیاپی 3، بهار و تابستان 1403)

Yazd, a significant city located on the outskirts of the desert in Iran, has been sustained by a network of historic qanats (Persian aqueducts) drawing water from the underground sources in the neighboring cities of Taft and Mehriz. These qanats, originating from the slopes of Shirkoh Mountain, have played a crucial role in the growth and prosperity of Yazd over the centuries. The vast Yazd-Ardakan plain, around which these qanats revolve, has provided ample space for the city's expansion. Since the 14th century AD, ambitious projects involving gardens and agriculture have been meticulously planned on the borders of this plain, particularly in the southern and southeastern regions surrounding the city of Yazd. The dedication of nobility, rulers, courtiers, and the general populace in funding and executing numerous projects in this area laid the foundation for the creation and evolution of garden neighborhoods (Bagh-Mahaleh) that flourished in size and number until the end of the Qajar Period. However, the haphazard urbanization that plagued Yazd, along with many other historical cities in Iran in the past century, posed a serious threat to these garden neighborhoods, leading to their gradual decline and eventual disappearance. Old aerial photographs serve as an affecting reminder of the once vibrant gardens, now reduced to slender leftovers of their former glory.
       The research aims to merge old sources and visual records through a historical methodology in order to reveal the origins, design, and creator of one of these gardens. The garden was situated in the southeastern vicinity of the region that now delineates the borders of the historic neighborhoods of "Abshahi" or "Naeem Abad". Along the northern front's outer edge, there is relatively well-preserved evidence of a structure that may have functioned as a gate-palace or "Aali Qapu". Amidst the Chaharbagh, the structure of a two-story pavilion has been identified, offering a view of the Chaharbagh and the main four corners of the complex through four eyvans or porticos. The architectural style of this pavilion is reminiscent of the "Hasht-Behesht", which later became the predominant design of pavilions in Chaharbaghs during the late centuries of the Islamic era.
       This complex, believed to have been named "Bagh-e-Eram", was likely established during the reign of Fath Ali Shah Qajar by Abdul Reza Khan Amir Muayid (1827-1829 AD), the 20th offspring of Muhammad Taqi Khan Bafqi (1748-1802 AD), and was constructed in 1829 AD, the final year of his official governance in Yazd.

Studies of mortuary practice mostly contemplate the rituals and religious beliefs of human societies and apply their data to recognize and evaluate hierarchical structures and where the deceased persons fit into them. Along with human burials, there have been numerous reports of animal burials such as dogs, and cats, both individually and in association with humans around the world. Dogs were the first and one of the most important animals domesticated by human beings, and their burials have frequently been documented in human settlements from the Upper Paleolithic period to the present day. Archaeological evidence indicates that dogs were the first animals domesticated by humans, and the practice of burying them is considered a universal phenomenon, as abundant samples have been discovered from different sites of the Old and New Worlds. Dog burials occur both individually and accompanied by human skeletons, a sign of mutual social adaptation between dogs and humans. In Iran, dog burials have been reported at the sites of Shahr-i Sokhteh, Gohar Tappeh, Qaleh Kash of Qaemshahr, Tape Rivi, Khoramabad cemetery of Meshgin Shahr, and Narges Tape (Golestan Province). The present article outlines these burials and considers their social and ritual contexts, concluding that some seem to be ritualistic, and others can be explained by the social affinity between humans and dogs.

One of the key strategies to engage visitors with museums is by effectively communicating the significance of museum artifacts and works. The primary goal of drawing in audiences to museums is to inspire changes in individual behaviors and societal norms. The messages conveyed by museum objects should stimulate a shift in perspectives and attitudes, fostering critical thinking and providing a conducive environment for intellectual growth and understanding of human behavior among visitors. This study aims to highlight the ethical and behavioral aspects of a historical artifact housed in the museum, which held great importance during a crucial period in Iran's history. Focusing on the case of Darius the Great at the National Museum of Iran, the authors aim to explore how the messaging of museum objects can be utilized to captivate audiences and effectively convey the essence of a museum piece. Also, this paper aims to address the following research question: How do museum works and objects alter the attitude and motivation, ultimately influencing the behavior of the audience? The research methodology employed in this article is a descriptive analysis of a quantitative-qualitative nature. Data was gathered from library resources, websites, and the VTS method. The measurement tools utilized in this study include the Excel software program and a self-made questionnaire distributed at the museum. The findings of the research indicate that museum objects can initially offer significant historical insights into Iran's past politics to contemporary audiences. Furthermore, by focusing on the three key elements of engaging the audience - conveying the message of museum objects, persuasion, and personal experiences - the study underscores the importance of the moral content embedded in the message of museum objects. This approach aims to transform the mindset and attitude of the audience.

Bones and human skeletal remains are among the most important materials found in many archeological excavations. Bones are composite materials consisting of organic and inorganic parts. Minerals constitute 70% of the dry weight of bones and organic substances the rest. This valuable material is degraded by environmental factors and microorganisms and its physical and mechanical properties are lost. Therefore, it is necessary to preserve bones. The Iron Age Cemetery of Tabriz with its buried human remains and the items found inside the tombs in the natural environment has been converted into a museum site. This paper describes the preservation and reconstruction of a sample of human skeleton belonging to this museum site taking into account the available pictures related to the excavation and removal of the factors damaging the skeletons. The results of the tests on soil EC, type of soil granulation and pH, the qualitative identification of the dissolved salts (anions), and the determination of the moisture content in the burial site indicated that the soil had a high moisture content, strong saline salts, and a loamy texture. The soil and skeleton had neutral (weakly alkaline) pH values. After carrying out the necessary studies, the skeleton was transferred to the workshop to be preserved and reconstructed and the soil in the bottom of the tomb was removed and desalinated with distilled water. Nano hydroxyapatite was used to improve the strength of the bones and Moldano and Simacryl R83 to reconstruct the lost parts of the skeleton. Plexiglas was employed as the insulator in the bottom of the tombs to cope with the rising moisture content.

Historical ceramic objects discovered in ancient sites have a great informational value. In the science of archaeology, the preservation and classification of this information is significant. Therefore, keeping their physical health seems important in storage, transportation, and use. These historical objects are often fragile and vulnerable due to the material used in their construction and their age, especially in the transportation and use stages, including the measurement and evaluation of the discovered object. Proper packaging can minimize the possibility of damage in the mentioned steps and guarantee the preservation of the physical health of the object.
To design suitable packaging for these historical objects, one must first have a detailed and complete understanding of their specifications. The chosen object in this packaging design process is a drinking container belonging to the Iron Age of northwest Iran, which was obtained during the archaeological excavations of Dalma Tepe in Malekan County of East Azarbaijan province under the supervision of Akbar Abedi in 2021. The packaging of the mentioned historical pottery must adhere to the minimum criteria to fulfill its primary function of preserving the physical integrity of these artifacts. To ensure this, ten specific criteria have been established for guidance.
Based on the obtained criteria, some solutions and concepts were generated, and finally, the most promising idea was selected according to the stated historical pottery. The main idea of this packaging design is to use memory foam. The historic and fragile ceramic object in the selected packaging is placed between two 6 cm layers of memory foam and surrounded by a 5-layer cardboard box. The selected package has 4 parts, the body, the lid, and two pieces of memory foam. Because the structure of the packaging is considered telescopic, it makes it possible for the packages to bear more weight during the storage stage. It means more packages can be placed on top of each other.
The selected packaging design can cover all the criteria mentioned for suitable packaging for historical ceramic objects and guarantee their physical health during the stages of storage, transportation, and use.

More than fifty years after the Second Industrial Revolution, the creation of industrial factories and machine production, in addition to its economic necessities and keeping pace with the modern world, was a sign of the beginning of industrialization and the establishment of progress and development in Iran. One of the most obvious and first ones is the construction and operation of spinning and weaving factories. The South Yazd factory with an area of about 40 thousand square meters is considered the largest textile production factory, including spinning, weaving, and dyeing in the south and center of the country, and therefore, the title “Jonoub” means south has been considered for it. Its main founder “Reza Sarafzadeh Yazdi”, was one of the wealthy merchants of Yazd and completed the construction of the complex in 1329AH (1950 AD). This collection started working in 1329 AH (1950 AD) and in 1379 AH (2000 AD), its production wheels stopped working.
This collection includes various sections such as; The main production hall, the second production hall, the support and production warehouse, the factory warehouse, the Sahara cinema hall, the administrative and welfare building of the employees, and the cooperative store building of the factory. The general area of the South Yazd Factory is about 40,000 square meters, and the main production hall occupies an area of 6,000 square meters. This building is constructed on one floor with dimensions of 92 x 67 meters a rectangular plan with a height of 40.8. It has an underground area of 285 meters, which is located in the northeast corner of the main hall. “Ali Akbar Mojibian”, the architect of “Iqbal” Textile Factory, “Iranshahr” High School, “Barkhordar” Mosque, and “Rasoulian” Mosque, was responsible for the construction of the South Yazd Factory. Despite not being used for a long time, the building of the main production hall of the South Yazd Factory does not have any serious and incurable structural damage. Except for a few cracks in parts of the building that are the result of the breaking of building materials and as a result the breaking of building elements locally; there is no other serious structural damage. The problem with the research is the lack of technical documentation about the physical and functional characteristics of the factory. Therefore, two questions about the characteristics of the work and the method for its preservation and repair are posed, with a historical analysis approach employed to address them.
The main concern regarding the "South Factory" is to pay attention to the observance of principles in the process of revitalizing this valuable building. The importance of reusing this complex that has lost its original purpose extends beyond protection. It aligns with the objectives of sustainable development and the preservation of cultural heritage. The proposal to convert the factory into a textile museum aims to showcase the rich history of weaving in the Iranian desert, with a particular focus on Yazd. This use has a functional authenticity of hidden values in the factory. In the recent past, this factory had accepted the production of braids, which have now become a part of the history of clothing in this land and are placed in the ranks of historical braids. Now it has accepted the mission of introducing it. This use has been done with minimal intervention and keeping in mind the originality and integrity of the factory's architecture; In a way, the first goal is to introduce the factory, and the next goal is to introduce the history of woven fabrics. Based on this, the identification of the user category and the anticipated functionalities within the historical structure are contingent upon the parameters established by both the users and guardians of the building.
 
The South Yazd Factory, as a historical monument registered in Iran National Heritage List, requires a suitable attitude in determining the strategy of intervention and the approach to restoration and revitalization of the Warp and Weft (Tar-o-Pood) Museum. Therefore, preserving the originality of the building has been taken into consideration in the first step of the process of revitalizing the South Factory, and in the next step, attention has been paid to the design and integration of new uses according to needs assessment and feasibility studies. In a critical and collaborative process and close contact with the client, the design group considered the South factory building as an industrial heritage museum. After the presence of historical objects and properties, it has been used to transform the work into a fabric museum. He also tried to use modern technology in the ways of presentation and introduction as a useful tool so that the object itself is given priority over the introduction tool. Content design is based on object orientation. Therefore, according to the contents in the reservoirs and the feasibility of obtaining cultural property, the layout scenario was set and zoning was done focusing on historical fabrics, historical carpets, and the introduction of the South Factory. In the body and space section, an open arrangement system was used. When necessary, transparent and semi-transparent separators taken from the architecture of the building were used, and it was decorated with a lighting system that was taken from the light branching from the covers during the day.

Lusterware glaze is a notable form of ceramic and tile decoration during the Islamic era. It is skillfully applied to pottery of various shapes and sizes. An intriguing discovery is the oldest known gold decoration, found on a glass cup in Fustat (Old Cairo). The cup bears the inscription of Abdul Samad bin Ali, who was the ruler of Egypt in 157 AH (773 AD). Another piece, dating back to 163 AH (779 AD), is also believed to originate from Egypt.
Mason is well aware of the production of lusterware in Iran around 1100 AD, which coincided with the same period in Syria. The technique employed in creating this type of pottery in Iran closely resembled that of the Fatimids in Egypt, utilizing tin glazing in combination with a rich and opaque lead. The main production centers for lusterware in Iran during this era included Ray, Kashan, Saveh, Gorgan, and Takht-e-Suleiman. When it comes to the manufacturing centers of lusterware, Watson argues that Kashan was the sole center during this time, with pottery being exported from this city to the surrounding regions.
According to Pope, Akerman, and Bahrami, various centers such as Ray, Saveh, Jurjan, and Kashan existed during this era. Lusterware is typically categorized into three distinct periods: 1- Early golden vessels from the 3rd and 4th centuries AH (9th and 10th centuries AD), 2- Lusterware of the middle period spanning from the 5th to 9th centuries AH (11th to 15th centuries AD), and 3- Lusterware of the late period covering the 10th to 12th centuries AH (16th to 18th centuries AD). The peak of lusterware pottery production is associated with the middle centuries of the Islamic era, with key centers including Ray, Kashan, Saveh, Gorgan, and Takht-e-Suleiman.
Luster Artists specialize in the production of tiles, which are a significant part of their product range. In Iran, some of the earliest examples of luster works can be found in the form of star-shaped, hexagonal, and clay tiles used in the altar of Hazrat Reza's shrine and the cover of Hazrat Masoumeh's mausoleum. The grand altars in Qom and Mashhad, adorned with star-shaped tiles, represent the pinnacle of Kashan ceramic's evolution. During the Ilkhanid period, a large number of tiles were produced, but the production of ceramic in Kashan ceased in the first half of the 8th century AH (14th century AD). Consequently, the Mihrab, marginal, and star-shaped tiles commonly seen during the Ilkhanid period were no longer manufactured. Due to space constraints, luster tiles predominantly feature inscriptions in quadrilateral shapes. Therefore, the study of these tiles, which were widely produced in the 7th century AH (13th century AD) and often adorned with inscriptions, can provide valuable insights into the motifs and artistic styles of that era.
This Paper focuses on the examination of luster tiles and wares from the Iranian Art Museum, aiming to decipher the inscriptions and classify their artistic style. The research questions addressed are: What art style do the luster ware and tiles from the Iranian Art Museum represent? Which production centers were responsible for creating the samples under study?
The paper employs a descriptive-analytical approach, utilizing both library and field sources for data collection. Initially, the statistical population consistedf of luster tiles and wares from the Iranian Art Museum. Subsequently, through photography, description, and comparison of the tiles and ceramics with similar artifacts in various museums and collections, their artistic style was identified, and the potential production centers were explored.
The wares and tiles examined in this study are part of the exhibits showcased in the Hall of Iranian-Islamic Art and Library Hall at the Iranian Art Museum, which is under the auspices of the Cultural Institute of Museums of the Mustazafan Foundation. Situated in Marmar Palace in Tehran, the Iranian Art Museum houses 7 pieces adorned with luster glaze, including tiles and wares.
The uncertainty surrounding the exact location of the discovery of these artifacts has led to the proposal of a solution to determine the potential origin of pottery production. One method involves comparing these works with similar examples found in museums worldwide, especially in cases where there is no historical background available. By examining the works of luster at the Iranian Art Museum and comparing them with authentic pieces from various museums and collections (such as the Baltimore Museum of Art, the Antiquities Collection, the Porches Museum in New York, and auctions at Michel’s and Christie's), distinct characteristics have been identified. The Kashan style, as observed in luster works, features seated figures with narrow eyes and round faces, intricate designs of plant motifs, slime, and spirals on clothing, depictions of birds in flight, elaborate background decorations, and the use of Persian and Arabic inscriptions along with quatrains from renowned poets of the era like Baba Afzal Kashani, Kamaluddin Esmail Isfahani, and verses from Shahnameh. These characteristics are indicative of the Kashan style of luster products, which is prominently displayed in the museum's collection.
The Rubaʿi is written on the tiles under study; a Rubaʿi serves as a way to convey the themes of lyrical poems, a choice that was highly valued by artists during the Islamic era. Due to the limited space on the ceramic surface, it is evident that the potter primarily relied on a special format of poetry, which could concisely encapsulate judgmental and moral themes. Hence, the Rubaʿi, consisting of four lines, was deemed most suitable. In terms of the relationship between image and text, there is no direct correlation between the images and text found on the tiles at the Iranian Art Museum. One of the featured poems is the Rubaʿi “May God keep it wherever it is ". This particular verse was initially discovered on a piece of pottery in Nishapur, and subsequently, it gained popularity, appearing on tiles at Takht-e-Suleyman and potsherds in various museums. Another Rubaʿi, which discusses the night's dual nature with a clear separation and two sides of light, is also present on the tile of Takht-e-Suleyman, dating back to the 7th century AH (13th century AD).
Epic themes, including the story of Bijan and Manijeh, Rubaʿi were among the popular subjects of potters and tile makers. The Rubaʿi read on the tiles of the art museum are of a romantic and philosophical type, and the potter artist used a special rule in the inscription that the writing and images did not interfere with each other, and sometimes he surrounded the inscription with a different color.
Figurative and non-figurative tiles were produced in the 7th century AH (13th century AD) and were mainly decorated with Persian poems and Quranic verses and were used for non-religious buildings. Nevertheless, star and cross tiles with animal designs and couplets on the border have been obtained from tombs such as Imamzade Jafar Damghan and Abdul Samad Natanz mausoleum, which indicates the use of figural tiles in Shiite tombs. There is also a possifbility that these tiles belonged to a religious building.
In general, according to the existence of chronology on one of the tiles (year 738 AH, 1337 AD) and the study of the poems and the type of motifs and comparison with the examples in other museums, it seems that these works belong to the middle Islamic ages (12th and 13th centuries AD). However, for a definitive opinion, interdisciplinary studies such as petrography and elemental analysis of samples can correctly determine their production location and provide valuable information to researchers.

The development and evolution of modernity in the field of painting restoration can be attributed to the influence of various philosophical schools and perspectives. During the 1960s and 1970s, minimalism played a significant role in shaping the theoretical foundations of restoration. This research aims to undertake a comparative and analytical study between minimalism and restoration concepts during the mid-20th century. Two distinct interpretations of minimalism's impact on restoration can be identified: "minimum intervention in historic monuments" and "minimalist approaches to preserving the original condition and addressing additions." Consequently, the research question posed is: "Can a logical connection be established between minimalism and restoration ideas about paintings in the 1960s and 1970s?" Based on the aforementioned, the research question is: "Can a coherent connection be established between the minimalist movement and the restoration concepts of the 1960s and 1970s in the context of paintings?" To accomplish this objective, a descriptive-analytical approach has been adopted to investigate the impact of minimalism on the theoretical underpinnings of restoration, while considering the existing literature on restoration theory from that period and instances of restored artworks. Ultimately, this study aims to demonstrate that both ideologies intertwined and harmonized seamlessly with the principles advocated by the minimalist school, with both realms drawing inspiration from this innovative perspective in the visual arts and its application to the restoration of paintings.

The inclusion of historical cities in the world heritage list provides a significant advantage in demonstrating these cultural monuments on a national and international scale. It is only natural for all countries to strive for the registration of their historical and cultural landmarks on this prestigious list. However, the crucial question arises: does registration on the World Heritage List mark the culmination of efforts, or does it signify the commencement of a more critical mission focused on preserving the original and significant values of these sites, which have developed and flourished within their cultural and social contexts over time? It is evident that the establishment of a comprehensive work management program post-global registration, along with the monitoring of its implementation, holds paramount importance. This significance is heightened when considering cities and their historical textures; cities serve as the stage for the interaction and confrontation of the physical elements of the urban landscape with the social dimensions of human life, the natural components of the environment, and the artificial aspects of the surroundings, encapsulating human presence across psychological, social, economic, cultural, aesthetic, and other realms. Therefore, any decision aimed at enhancing the state of a city must prioritize the human element as the most crucial factor, underscoring the significance of non-physical aspects in the rejuvenation of historical cities. Furthermore, what becomes apparent in historical textures and their restoration post-registration on national and world heritage lists is the fulfillment of responsibilities by urban authorities. This implies that programs following the registration of sites often exhibit several characteristics; they do not ensure the desired outcomes, lack a holistic approach to restoration and revitalization in their development and formulation, and are devoid of adequate organizational backing or continuous monitoring and refinement.
Hence, in general, the acceleration of changes and sometimes damage to historical structures occurs after their registration. The city of Yazd is no exception to this phenomenon, as the changes following the world registration of its texture have been rapid, uncontrolled, and emotionally driven, resulting in incorrect interventions. The unregulated and indiscriminate presence of tourists has also had a detrimental impact on the local way of life. Additionally, the creation of added value through real estate disposal has significantly reduced the occupancy rate in this area. The conversion of small urban units into non-authentic uses has further eroded the authenticity and integrity of the texture, while physical interventions in passages and arteries have transformed this area from a historical axis into a display of light, patterns, and designs, with the original life becoming less visible, if not completely absent. However, according to the accepted principles of restoration, the preservation of the identity and original nature of the texture is the foremost and most crucial aspect. 
This preservation should encompass economic, social, cultural, anthropological, physical, and functional considerations. Any violation of this important principle during the registration process, after it, or during the revitalization of the affected texture would result in damage and complications. Moreover, the purpose of registering any work is to show its unique characteristics to the world. If this registration leads to the weakening of these values, it fundamentally contradicts the purpose and not only fails to contribute to the revival of the texture but also causes irreparable harm in the long term.

The Mina'i and Lusterware from the 13th and 14th centuries AD are renowned for their innovation and brilliance. Producing these wares requires white paste and employing new techniques in glazing and decorating which results in a magnificent and expensive product. The process involves multiple rounds of firing to achieve the desired temperature for each color, allowing artists to adorn the ware with a wide range of colorful and intricate decorations.One of the distinguishing features of these wares is the opulent and diverse human motifs, which are shown both on and beneath the glaze. These valuable miniatures draw inspiration from the Sassanid motifs, Shahnameh, and various religious, epic, astronomical, lyrical, mythological, and symbolic concepts. The scenes depicted on the ceramics include aspects of daily life, hunting, banquets, music, dance, and courtly affairs. The figures portrayed in these miniatures possess round faces, slanted and narrow eyes, small mouths, braided hair cascading down their shoulders, and a halo surrounding their heads. These facial features align with the aesthetic ideals of the Turks and have their origins in this cultural context. The execution of these images on a flat and smooth clay surface, rather than on paper, reflects the wall paintings of the Seljuk era, of which only a few samples remain.Since its beginning, this tradition has gained popularity, allowing artists to convey their aspirations and desires, as well as fulfill their aesthetic instincts through intricate linear patterns in different manifestations, creating an enigmatic symbol. The traces of this carving tradition date back to at least the fifth millennium BC, indicating a variety of incised patterns featuring geometric, botanical, zoological, and anthropomorphic motifs. Through visual and spatial components, these artists have depicted the perception of depth, spatiality, motion, and illumination in relation to tangible or conceptual phenomena in a two-dimensional realm, a process that is most beautifully seen in the mosaics of Bishapur city from the Sassanid era.The depiction of women in mina'i and lusterware images reveals various real and metaphorical situations and concepts that reflect the cultural and social changes of the time. These images portray scenes from everyday life, banquets, dance and music, court life, and astronomical symbols, showing the artistic innovations of this era. The patterns on these ceramics not only depict customs and traditions originating from women but also transcend religious restrictions by portraying the faces of women. Through their stories and narratives, women have given these dishes a unique and distinct character. These images, dating back to ancient times, hold significant importance in understanding the status and experiences of women throughout history.One of the earliest representations of women can be found in a piece of pottery dating back to the late 5th and early 4th millennium BC from the Sialk of Kashan. This pottery depicts four women holding hands in a ritual dance performance. Additionally, two potsherds from the mid-4th millennium BC were discovered in Cheshme Ali of Ray, representing women wearing hats or headbands and tight clothing, holding hands, and dancing. The depiction of women on potteries from the Chalcolithic period in various regions such as Cheshme Ali, Qazvin Cemetery, Sialk, Bakun, and Jari, Marvdasht, Iblis Kerman, Jafar-Abad, Joy, Bandbal, Susa, Choghamish, Sabz, Khazine, Musian, and Moosian suggests a common theme of group and individual dancing with rhythmic movements, possibly related to activities like harvest, prayer, and celebration in prehistoric societies. This dance originates from religious concepts and serves as a representation of the belief that the gods engage in celestial and earthly dances. What makes these motifs intriguing is their repetitive rhythm and balance, which signifies the remarkable advancement and progress of the skilled potter who was able to convey their beliefs and ideas through the creation of motifs on pottery. During historical periods, as the art of metalwork flourished, women's roles shifted from ceramic to metal vessels and wall paintings. However, in the early Islamic centuries, women's roles diminished due to religious beliefs. In the 10th and 11th centuries AD, wares featuring motifs such as women, horsemen, and bards were referred to as "Gabri" under the influence of the Sassanids. This situation was short-lived, as with the rise of literature in the Middle Ages, potters found a suitable platform to incorporate the role of women in literary and mythological tales. The Mina'i and Lusterware serve as the most compelling evidence of this assertion.The following study’s goal is to explore the techniques and interpretations of motifs, specifically focusing on women's design and allegory. The research involves analyzing examples from the Mostazafan Foundation’s Cultural Institution of Museums using both field and documentary methods. The field research includes studying a collection of wares, while the desk research involves referencing various sources such as books, papers, theses, and archaeological reports. This research focuses on the investigation, analysis, and systematic comparison of motifs. It also explores the continuity and sequence of artistic and cultural traditions, providing an accurate and comprehensive understanding of the impact of the past, particularly the Sassanid era. Additionally, it delves into various stories and myths rooted in national beliefs, the origins of technology, and the influence of culture. Furthermore, this study places significant emphasis on the construction and production of pottery, making it a crucial area of research.The research inquiries are as follows: 1- What are the common themes depicted in images of women? 2- How does the portrayal of women change with shifts in cultural and social circumstances? An effort was undertaken to explore and scrutinize the motifs of women's roles in pottery with profound contemplation. The images convey fantasies, beliefs, ideals, intellectual aspirations, and the reflection of the potters' perspectives. In order to comprehend and appreciate the technology of The mina'i and lusterware, the research investigates technical attributes, historical periods, cultural regions and production hubs, forms and functions, decorative techniques, material colors, the significance of materials, and production eras. The findings of the study reveal that the depiction of women is influenced by evolving societal attitudes, the rise of romantic literature, the dissemination of astronomical concepts linked to female symbols, the social standing of women in the realm of music, and their contribution to the development of Ramshagari immortalized on wares.