واکاوی ویژگی‌های فنی، تزئینی و نوشتاری در هفت نمونه از کاشی‌ها و سفالینه‌هایِ کتیبه‌دار موزۀ هگمتانه همدان

Introduction: Pottery, with its rich and ancient heritage in Iranian culture, has played a significant role in the development of human societies. With the advent of Islam, the course of pottery production gradually changed in accordance with the new ideological and cultural contexts. In other words, with the rise of dynasties such as the Samanid, various methods of painting and glazing became widespread, eventually reaching their peak during the Seljuk and Ilkhanid periods. In this regard, ceramic findings obtained from archaeological excavations, along with museum-held cultural materials, provide valuable sources of information on the aforementioned historical periods. However, in Iran, their significance and research potential have not yet received sufficient attention. It seems that continued investigation in this field could help resolve many ambiguities concerning the various types of ceramics, their production centers, and decorative techniques. On the other hand, inscribed ceramic artifacts—particularly tiles and pottery bearing inscriptions—constitute a significant portion of museum collections in Iran and around the world, offering considerable research potential. A number of Islamic-period inscribed ceramic and tile vessels are preserved in the Hegmataneh Museum of Hamedan; however, no independent study has yet been conducted on their manufacturing techniques, decorative motifs, or inscriptions. Therefore, the problem statement of the present study is to examine the inscriptions and motifs, the manufacturing techniques, and the relationship between decorative patterns and inscriptions in Islamic-period inscribed ceramics and tiles from the Hegmataneh Museum of Hamedan.
Purposes & Questions: The purpose of the present study is to investigate the manufacturing techniques, relative chronology of the vessels, the meanings of inscriptions and motifs, and the relationships between them in seven inscribed ceramic and tile artifacts from the Hegmataneh Museum. Since this study focuses exclusively on inscribed examples, the selected sample includes four slip-painted earthenware vessels, one stonepaste vessel, one luster-painted tile, and one luster-painted vessel. The main research questions of this study are as follows: 1. what are the technical, decorative, and epigraphic characteristics of the selected inscribed vessels, and what conceptual relationships exist between their form, motifs, and inscriptions? 2. What is the relative chronology of the selected vessels in the Hegmataneh Museum based on comparative studies with similar examples?
Methods: The present study is qualitative in nature, fundamental in purpose, and conducted using an analytical–comparative method. Data were collected through two approaches: fieldwork and library research. The data collection process involved visiting the museum, photographing the objects, preparing drawings, and carrying out detailed documentation, alongside note-taking from library sources, including relevant books and articles. The statistical population of the research consists of seven inscribed tiles and vessels from the Hegmataneh Museum, which were examined through qualitative analysis using descriptive, analytical, and comparative approaches.
Findings & Results: The results of the study indicate that there is a significant relationship between the motifs and inscriptions depicted on the examined vessels, which serve a function beyond mere decoration. Based on comparative studies with similar examples, the slip-painted earthenware vessels are likely dated to the 3th –5th centuries AH, the stonepaste vessel with molded relief designs to the 5th–6th centuries AH, and the luster-painted dish and tile to the 7th century AH (Ilkhanid period). The production center of the slip-painted vessels examined is likely Nishapur, based on comparable examples, while the luster-painted artifacts were probably manufactured in Kashan. The vessels take the form of bowls and dishes, and verses by the contemporary poet Baba Afzal Kashani are inscribed on them. In addition, mystical and romantic concepts, invocations in praise and glorification of God, and prayers for the protection of the vessels’ owners are also included. The Ilkhanid-period luster-painted dish and tile featuring depictions of women reflect, on one hand, respect for the status of women, and on the other hand, the motif of the double-edged sword (Dhu’l-Fiqar) on the reverse side symbolizes Shi‘ite inclinations, protection, and blessings for the owner of the vessel, as well as political flexibility and respect for diverse beliefs in accordance with the overall policies of the Ilkhanids. Another significant finding of the study is the integration of advanced lusterware techniques with symbolic religious motifs (Dhu’l-Fiqar and the hoopoe) and social motifs (snake, fish, cypress tree, and pond) in the Ilkhanid-period dish and tile, reflecting mystical and Sufi thought. Examination of the textual and structural features of the studied samples revealed that, parallel to the significant development in ceramic production from slipware to stonepaste and lusterware, the content of inscriptions evolved from brief religious phrases or moral maxims to more elaborate mystical and romantic writings, often in the form of poetry. In other words, the expression of ideas using the most refined form of writing (poetry) occurred on the most common medium (ceramic vessels), with the finest surface (lusterware), and executed in the prevalent Naskh and Riqa‘ scripts of the Seljuk and Ilkhanid periods.