Criteria for the inclusion of images carried out on ancient Kashan ceramics

Abstract

Research Summary

The research included three chapters. The first chapter included the research methodology, which included the research problem and the question was about the nature of knowledge of the criteria for the inclusion of the problem on the pottery (old Kashan) in the Islamic era. The research also aimed to identify the nature of the criteria for the inclusion of Kashan figuratively. The importance of the research is through providing researchers in the field of pottery in general and Iranian pottery in particular with rare research in particular. The chapter included defining the spatial and temporal boundaries of the research with defining some of the terms on which the title of the research was based. The second chapter, the theoretical framework, included a set of topics from which came the foundations of the structures of intellectual inclusion in ancient Iranian society. The second topic, the content criteria employed in the formal structure. The chapter included several indicators, including: 1 - The inclusion engine of the form system in art is represented either by simulating the repetition of the form or shape or by modification to reach the formal system in art that provides special inclusion values ​​that express the group's thought. 2- The penetration of the Islamic civilization system as a cognitive depth in the architectural structure of the form, as contents and forms that presented themselves in creative systems that fit the inclusion criteria, with intentionality and mental awareness towards the formation process. As for the third chapter, research procedures, it included the research community, research samples, research methodology, and analysis of five research samples, and the fourth chapter formulated the research results, the most important of which are: 1- The samples relied mostly on flattening in implementing the forms and their relationships within the characteristics of the space invested in proportions of similarity of Kashani's philosophical thought, with the intellectual level in the philosophy of Arab Islamic art. 2- Emphasizing the necessity of going beyond direct forms in presenting the content and adopting the criteria of inclusionary suggestions, as the relationship between form and inclusion was distinguished in the samples by the criterion of association of the artist's ideas that achieved ideological dimensions and a different structural character. And reviewing the conclusions, including 1- The criteria for pictorial inclusion and decoration appeared on the surfaces of the pottery vessels, each according to its shape and function, as they were decorated with abstract, geometric, plant, and animal decorative units in the form of bands around the neck, surfaces, and bodies, or in the form of straight, circular, or wavy lines, and most of the decorations used in the Kashan era had clear elements, dictated by the necessities of technology. 2- The criteria for pictorial inclusion of creative formation in expression and aesthetic formulation expanded to formation and decoration through decoration on the surface of the pottery body only, but also included depicting some intellectual contents that represent part of the aspects of life, social, and religious