Analysis of the Continuity of Sassanid Motifs in the Islamic Period: Case Study of Motifs of Islamic pottery

Document Type : مقالات علمی پژوهشی

Authors
S. khaledian
H. arab
archaeology, Shiraz University of Art
Abstract
The Sassanid era is one of the brightest periods of art and civilization in Iran. There are major remains of many different types: monumental rock reliefs, silver vessels, stucco architectural decoration, and seals.

Sassanid art and culture could affect on the Islamic arts in Iran, including in the field of urbanism, architecture, textiles, metallurgy, painting, pottery. There are a lot of motifs that are very similar to the Sassanid ones.

The Sassanid Empire had an enduring legacy in the Islamic period. On the one hand, the continuation of certain artistic techniques, such as silk production, plate, and stucco, may be attributed to the caliph’s practical marshaling of Sassanid artists to the service of the new state. In some cases, motifs on the artwork of the Islamic era do not show only a simple pattern of previous art, but we see full compliance and a copy of the Sassanid motifs. The pottery as well as cultural and artistic works belonging to the Islamic period too show that they were not unaffected by the Sassanid period. Here, an attempt is being made to study the transition of culture and art of the Sassanid era to the Islamic period. The study of the pottery motifs in the Islamic period can specify the amount of influence and the reasons for the transfer of Sassanid art. This research focuses on the designs of Islamic pottery that are much similar to the Sassanid motifs.

Keywords

Subjects

25. Harper, p.o,1979, Thrones and Enthronement Scenes in Sasanian Art, Iran, Vol.17, pp.49-64

References
[1] Akbari, A., (2010). “The Similarity of Seljuk’s and Sassanid’s Bureaucracy and Importance and Role of the Minister in the Two Governments”, Moskuya, Year 5, Number 13, Pp. 7-28.
[2] Azadbakht, M., Tavoosi, M., (2012). “Continuity of Motifs of Silver Dishes of Sassanian Era on Neyshabur Pottery Designs of Samanid Period”, Negareh, Number 22; Pp. 56-71.
[3] Baghbidi, H., (2012). On Some Sassanian and Arab-Sassanian Seals and Coins, Mirror of Heritage, Issue 9, Number 1.
[4] Bahrami, M., (1952). Iran Industries-Ceramic Ware, Tehran: University of Tehran Press.
[5] Bertold, S., (2008). History of Iran in Early Islamic Centuries, Translated by Javad Flatoori, Tehran: Scientific Cultural Press.
[6] Congran, M., (2011). Ferdowsi in the Light of Iranian Painting, Kimiya-e Honar, Issue 1, Number 1, Pp. 71-82
[7] Golshani, A., Yarmohammadi, H. and Daneshfard, B., (2013).The Effect of Jundishapur School on Baghdad Medical School, Journal of Research on History of Medicine, No. 2, Issue2, Pp. 49-56.
[8] Harper, P.O., (1979). Thrones and Enthronement Scenes in Sasanian Art, Iran, Vol.17, Pp.49-64.
[9] Hemmati Vine, (2010). “A Comparative Study of the Images of Shahnameh Bisneghari with the Epic Literature of Shahnameh”, Naghshmaye , Year 3, Number 5; Pp. 67-74.
[10] Hendi, R., Ghazizadeh, KH., (2012). The Beautiful Cognitive Features of Bird’s Images in Seljuk Art, Naghshmaye , Year 5 , Number 11; Pp. 45-52.
[11] Hosseini, H., (2012). Analyzing Notable Samples of Female Figures in Islamic Earthenware of Iran, Woman in Art and Culture, Year 4 , Number 2; Pp. 63-82.
[12] Karimi, F., and Kiani, M., (1986). Pottery Art in Islamic Era of Iran, Tehran: Center of Archaeology Press.
[13] Khatibi, A.F., (2007). “Iranian Identity in Shahnameh”, Farhangestan Quarterly, Pp. 69-76.
[14] Kiani ,M., Mortezaee, M., (2007). “Study of the Natural and Cultural Infrastructure in the Formation of Gorgan (Jorjan) in the Islamic Era with Case Study: Exploring the Islamic Area of Gorgan”, Asar, Nos. 42-43, Pp. 129-146.
[15] Kiani, M., (1987). Iranian Cities in Urban Planning…., Tehran: Islamic Propagation Press
[16] Lambeth ,C., (2013). Persistence and Transformation in Middle Iranian History, Translated by Jacob Ajend, Tehran: Ney Press.
[17] Mahmoudi Bakhtiari, M., (2008). Persian Language Planning in the Samanid Era, Farhangestan Quarterly, Year 9, Number 4 (36); Pp. 213-225.
[18] Mehrpouya, H., Dehghani, Z. and Aalinezhad, H., (2013). The Influence of Animal Motifs of Sassanid Textiles on the Designs of Transoxiana Textiles, Journal of Motaleate-e Tatbighi-e Honar, Year 3, Number 5; Pp. 77-89.
[19] Namjoo, A. and Forouzani, M., (2013). A Symbolic and Comparative Study of Sasanian and Safavid Textile Elements, Honar Quarterly,Year 1 , Number 1; Pp. 21-42.
[20] Norouzi, B., Mobini, M., and Ebrahimzadeh, F., (2013). Review of the Role of Women in Sassanid MetalWork, Naghshmayeh , Year 5, Number 14; Pp. 79-90.
[21] Pakzad, J., (2012). History of City and Urbanization in Iran from Early to the Qajar era, Tehran: Armanshahr Press
[22] Pope, A., (2009). A Survey of Persian Art, from Prehistoric to the Present Time, Translated by Najaf Daryabandari, Tehran: Scientific and Cultural Press.
[23] Soltanzadeh, H.A., (2012). A Brief History of City and Urbanization in Iran, Tehran: Chahartagh Press.
[24] Towhidi , F., (2009). Pottery Technique and Art, The Center for Studying and Compling University Books in Humanities, Tehran: Samt.
[25] Zamani, A., (1974). The Effect of Sassanid Art on Islamic Art, General Administration of Ministry of Culture and Arts.
The Journal of Research in Humanities
Volume 27, Issue 1
March 2020
Pages 21-43