Handicrafts of Great Khorasan

Handicrafts of Great Khorasan

Figural Representation of Nishapur Pottery

Document Type : Original Article

Authors
1 PhD Student in Comparative and Analytical History of Islamic Art, University of Arts, Tehran, Iran
2 Professor, Faculty of Theoretical Sciences and Higher Art Studies, University of Arts, Tehran, Iran
Abstract
dy, 25 samples of Nishapur pottery from 9th and 10th Centuries AD with 38 human figures depicted on them have been investigated in terms of form and content. This study aims to examine the figural representations on buff wares in order to pinpoint its position in the history of Iranian pictorial arts. First of all, an initial classification of the themes and posture of body and formal proportions was performed. In reviewing the method of drawing, with regard to the greater number of figures depicted frontal aspects, significance of the depicted characters or worldviews of their artists was demonstrated. In terms of gender, it should also be mentioned that it is not possible to estimate the sex of the figures except in two or three cases. In an Iconographic study on these artworks, presence of elements such as capelike collar, flying tassels and holding flowers stems and goblet in hands of figures on these ceramics indicate a significant relationship with the art of ancient Persia and early Islam. The goblets or cups, flowers and the hand modes of the figures symbolize 10 thousand Farr(Aura)s; the capelike collar refer to concept of triumph ,and the flying tassel refer to the magnificent family of the character. All in all, the main theme of the decorations are fight, Feast, Prince and his court and Hero. Altogether, these decorations representing the meaningful elements of ancient Iran, as mentioned above, indicate the continuity of themes with a centrality of perfection and victory. So, we can see continuity in themes and figural representation in  Iran art through the 9 th and 10 th centuries.
Keywords

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