Bunyān-i hunar; justārhā-yi mūzah/dārī, marimmat, bāstānshināsī va tārīkh-i hunar (Foundation of Art; Studies of Museums, Conservation, Archeology and Art History)

Examining the portrayal of women in the Mina'i and Lusterware from the 6th and 7th centuries AH (13th and 14th Centuries AD) at the Cultural Institution of Museums under the Mostazafan Foundation.

https://doi.org/10.22034/ciom.2024.712939
Volume 2, Issue 3 - Serial Number 3
May 2024
Pages 341-385
Bunyān-i hunar; justārhā-yi mūzah/dārī, marimmat, bāstānshināsī va tārīkh-i hunar (Foundation of Art; Studies of Museums, Conservation, Archeology and Art History)

Document Type : Original Article

Author

Majid Hajitabar

دانش آموخته دکترای باستان شناسی دوران اسلامی

Abstract
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.

Keywords

Pattern of Woman
Minaei and Zarin fam pottery
Middle centuries
bonyad'
s museum collection
Subjects
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