This project is about skills and ability of Iranian potters in producing porcelain enamel. Procedure of performing relief and decoration in manufacturing center contain characteristics that make different every center from other centers. The main question is that where the main centers of porcelain is enamel And what is basic property of porcelain enamel decoration in different city? Rey, Saveh, Sultan Abad and Kashan was the main centers of porcelain enameled. Gorgan, Neighbor and Tabriz are the other cities of manufacturing clay. Perhaps, Rey and Kashan manufactured clay for the same time T but pointers of Kashan was the best. In Kashan style in spite of Rey, the most important matter was descriptive forms and craftsman considered more attention to this. In Kashan group, statues was the biggest level and faces was impressive and decoration was disperse that is completely differ from Rey method. In Rey method of ten used from miniature design and in Kashan method used of calligraphy and designing for decorating clays. Pottery industry in Saveh is most important rival for Rey and Kashan, that this is not so differ from pottery in Rey and Kashan. in some dishes that produced by using of Saveh method, there is combination of Rey and Kashan method and can be said this is adoption of human body in Kashan style, but there is some intervention in state of human faces and decoration style in designing of cloths. Since, Saveh was heir apparent, developing of pottery in Soltan Abad is due to relation with Kashan. There is some advantages in Soltan Abad clays that contain: scant colures, accuracy of animal design, so that this is not so differ from natural forms and bowl dishes that is not common in other city. Soltan Abad glaze have more arch and garniture and impacts of china art was observed from Soltan Abad clay, also, human faces in this type of clay is look like mogul faces. Research method of this project is historical and look in sites carried out by using of internet and searching the foreign museums. The purpose of this research is to investigate main centers of manufacturing porcelain enameled and its property in each center.
| Published in | International Journal of Archaeology (Volume 4, Issue 2) |
| DOI | 10.11648/j.ija.20160402.12 |
| Page(s) | 17-25 |
| Creative Commons |
This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited. |
| Copyright |
Copyright © The Author(s), 2016. Published by Science Publishing Group |
Pottery Enameled, Manufacturing Center, Features Index
| [1] | Abbasian, M., (2000). Pottery and tiles in Iran's history, Tehran: Gothenburg |
| [2] | Fairuz, Sh., (1966). Pottery, Tehran, Feb printing. |
| [3] | Allen, J., (2008). Islamic pottery from the beginning to the patriarch. Translation: M. Shaysthfar. Tehran: Institute for Islamic Art. |
| [4] | Atynghavzn, R. and Oleg Grabar., (2003). Islamic art and architecture (1). Translations, Jacob Azhand. Tehran: Organization of research Humanities Books. |
| [5] | Askiers, J., (1995). Iranian Ceramic arts, collector W. Ferreira. Translation Pervez border. Tehran: art collection. 271-294. |
| [6] | Blair, Sh. and Jonathan M. blvm. (2003). Islamic art and architecture in Iran and Central Asia first. jld: Ilkhan and Timurid. Translated by Sayed Mohammad Mousa Hashemi Golpayegani. Tehran: Ministry of Culture and Islamic Guidance. |
| [7] | Bahrami, M., (1948). Iranian industry, ceramics, Tehran University |
| [8] | Connell, E., (2008). Islamic art, translation Houshang Taheri, Tehran: Birch. |
| [9] | Degeorge, Gerard. Yves, Porter., (2002). The Art of the Islamic Tiles. P: Flammarion. |
| [10] | Froom, A., (2008). Persian Ceramics from the Collection of the Asian Museums. Asian Art Museum. |
| [11] | Fehervari, G., (1973). Islamic pottery, a comperehensive study based on the Barlow Collection, London: Faber & Faber. |
| [12] | Grube, E. J., (1976). Islamic Pottery of the Eight to the Fifteenth Century in the Keir Collection, London: Faber and Faber. |
| [13] | Grube, E. J, (1976). Islamic pottery, the seventh volume of excerpts ten-volume collection of Islamic art. Nasser Khalili collection. Translation F. Haeri. Tehran: Carnegie. |
| [14] | Kashani, A., (2007). Al-Jawahiri and costly gifts Alataybbh, Iraj Afshar. Tehran: Alma. |
| [15] | Kambakhsh far, S., (2000). Ceramics and pottery in Iran. Tehran: Phoenix. |
| [16] | Katly, M & Louis Hamby., (1997). History of Iranian art. Seljuk art and Kharazmshahi. Translations Jacob Azhand, Tehran: Molly. |
| [17] | Karbasi, C. & F. Qayyny., (2001). Pottery enameled. Tehran: Institute of Cultural Production Department of Education. |
| [18] | Kiani, M., (1978). Persian pottery. Iranian pottery review of prime minister. Tehran, for prime minister. |
| [19] | Karimi, F & Kiani., (1985). Art SfalGry Islamic period. Tehran: Iranian archeology center. |
| [20] | Kiani, M., (2000). Pottery and SfalGry in Iran's history. Tehran: knowledge breeze. |
| [21] | Khamoushi, L., (2006). The study of archaeological ceramics enamel (National Museum of Iran), MSc thesis, archeology, Islamic Azad University, Tehran. |
| [22] | Pope, A., (2008). Take a look at in Iranian art. Volume IX. Tehran, Scientific and Cultural. |
| [23] | Porter, V., (2002). Ceramic Islamic. Translation M. Shaysthfr. Tehran: Institute for Islamic Art. |
| [24] | Pope, A., (2009). Iranian art masterpieces. Translation Khanlari. Tehran, Scientific and Cultural. |
| [25] | Zaki, H., (2009). Iranian art in the Islamic era. Translated by Mohammad Ibrahim Eghlid. Tehran: contemporary sound. |
| [26] | Zaki, H., (1984). Iran after the Islamic history of the industry. Translation MA Khalili. Tehran: Iqbal. |
| [27] | www.philamuseum.org (2015/ 10/23) |
| [28] | www.metmuseum.org (2015/10/23) |
| [29] | www.asia.si.edu (2015/ 10/25) |
| [30] | National Iranian Museum (2015/ 10/ 12) |
APA Style
Najmeh Nouri, Fereshteh Sharifi. (2016). The Main Centers for Production of Enameled Pottery and Their Features. International Journal of Archaeology, 4(2), 17-25. https://doi.org/10.11648/j.ija.20160402.12
ACS Style
Najmeh Nouri; Fereshteh Sharifi. The Main Centers for Production of Enameled Pottery and Their Features. Int. J. Archaeol. 2016, 4(2), 17-25. doi: 10.11648/j.ija.20160402.12
AMA Style
Najmeh Nouri, Fereshteh Sharifi. The Main Centers for Production of Enameled Pottery and Their Features. Int J Archaeol. 2016;4(2):17-25. doi: 10.11648/j.ija.20160402.12
Share This Article
Twitter
Linked In
Facebook
Copy
Download@article{10.11648/j.ija.20160402.12,
author = {Najmeh Nouri and Fereshteh Sharifi},
title = {The Main Centers for Production of Enameled Pottery and Their Features},
journal = {International Journal of Archaeology},
volume = {4},
number = {2},
pages = {17-25},
doi = {10.11648/j.ija.20160402.12},
url = {https://doi.org/10.11648/j.ija.20160402.12},
eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ija.20160402.12},
abstract = {This project is about skills and ability of Iranian potters in producing porcelain enamel. Procedure of performing relief and decoration in manufacturing center contain characteristics that make different every center from other centers. The main question is that where the main centers of porcelain is enamel And what is basic property of porcelain enamel decoration in different city? Rey, Saveh, Sultan Abad and Kashan was the main centers of porcelain enameled. Gorgan, Neighbor and Tabriz are the other cities of manufacturing clay. Perhaps, Rey and Kashan manufactured clay for the same time T but pointers of Kashan was the best. In Kashan style in spite of Rey, the most important matter was descriptive forms and craftsman considered more attention to this. In Kashan group, statues was the biggest level and faces was impressive and decoration was disperse that is completely differ from Rey method. In Rey method of ten used from miniature design and in Kashan method used of calligraphy and designing for decorating clays. Pottery industry in Saveh is most important rival for Rey and Kashan, that this is not so differ from pottery in Rey and Kashan. in some dishes that produced by using of Saveh method, there is combination of Rey and Kashan method and can be said this is adoption of human body in Kashan style, but there is some intervention in state of human faces and decoration style in designing of cloths. Since, Saveh was heir apparent, developing of pottery in Soltan Abad is due to relation with Kashan. There is some advantages in Soltan Abad clays that contain: scant colures, accuracy of animal design, so that this is not so differ from natural forms and bowl dishes that is not common in other city. Soltan Abad glaze have more arch and garniture and impacts of china art was observed from Soltan Abad clay, also, human faces in this type of clay is look like mogul faces. Research method of this project is historical and look in sites carried out by using of internet and searching the foreign museums. The purpose of this research is to investigate main centers of manufacturing porcelain enameled and its property in each center.},
year = {2016}
}
TY - JOUR T1 - The Main Centers for Production of Enameled Pottery and Their Features AU - Najmeh Nouri AU - Fereshteh Sharifi Y1 - 2016/05/20 PY - 2016 N1 - https://doi.org/10.11648/j.ija.20160402.12 DO - 10.11648/j.ija.20160402.12 T2 - International Journal of Archaeology JF - International Journal of Archaeology JO - International Journal of Archaeology SP - 17 EP - 25 PB - Science Publishing Group SN - 2330-7595 UR - https://doi.org/10.11648/j.ija.20160402.12 AB - This project is about skills and ability of Iranian potters in producing porcelain enamel. Procedure of performing relief and decoration in manufacturing center contain characteristics that make different every center from other centers. The main question is that where the main centers of porcelain is enamel And what is basic property of porcelain enamel decoration in different city? Rey, Saveh, Sultan Abad and Kashan was the main centers of porcelain enameled. Gorgan, Neighbor and Tabriz are the other cities of manufacturing clay. Perhaps, Rey and Kashan manufactured clay for the same time T but pointers of Kashan was the best. In Kashan style in spite of Rey, the most important matter was descriptive forms and craftsman considered more attention to this. In Kashan group, statues was the biggest level and faces was impressive and decoration was disperse that is completely differ from Rey method. In Rey method of ten used from miniature design and in Kashan method used of calligraphy and designing for decorating clays. Pottery industry in Saveh is most important rival for Rey and Kashan, that this is not so differ from pottery in Rey and Kashan. in some dishes that produced by using of Saveh method, there is combination of Rey and Kashan method and can be said this is adoption of human body in Kashan style, but there is some intervention in state of human faces and decoration style in designing of cloths. Since, Saveh was heir apparent, developing of pottery in Soltan Abad is due to relation with Kashan. There is some advantages in Soltan Abad clays that contain: scant colures, accuracy of animal design, so that this is not so differ from natural forms and bowl dishes that is not common in other city. Soltan Abad glaze have more arch and garniture and impacts of china art was observed from Soltan Abad clay, also, human faces in this type of clay is look like mogul faces. Research method of this project is historical and look in sites carried out by using of internet and searching the foreign museums. The purpose of this research is to investigate main centers of manufacturing porcelain enameled and its property in each center. VL - 4 IS - 2 ER -
Email: