Like any city and civilization, Qomsheh (Shaherza) pottery may have existed since its inception as a city, and we can find its remains in the mosque of its oldest historical buildings, such as Jame Shahr, or the pottery of Khmera graves in the historical hills of the city. But what we know as the stable identity of Shahreza pottery was formed in the Safavid period and in the vicinity of Isfahan.

A city near the capital, which can be the best source of pottery production for the capital, both in terms of having a tradition of pottery and suitable sources of clay and rich resources of kaolin (the most important part of white soil or Chinese soil). Pottery that goes to Isfahan and travels to Europe on the silk roads.We can see it in the famous museums of the world like Metropolitan, but what is more important to remain is this tradition in the contemporary pottery of this city:

White and blue earthenware (azure) with plant motifs, which are known as porcelain.

Turquoise earthenware with black underglaze motifs, which are decorated with fish motifs, plant motifs, or Qomsheh folk slime.

Seven-color underglaze pottery and plant carvings that have reached their peak since the Pahlavi period.

In these motifs, we are on the one hand with Khattai plant motifs, which have their roots in the ancient Khattai Islamic art of Iran and are mixed with native plants of the past, and on the other hand, with fish motifs. The role of the fish, which has its roots in Iranian mythology and has been passed down to the hands of pottery and carpet artists and other handicrafts from generation to generation, and of course, it was not far away in the water aqueducts of the past. It is as if the pottery of this city has been one foot in the myth and one foot in the daily life of potters, and these two have had an interesting combination.

practice, but most of the potters have started mass production instead of high-quality constructions with identity, which chews the roots of this ancient tree.

Explain the placement of this phenomenon with the myth itself. As it is mentioned in the Mino-e-Khord, Ahuramazda planted the tree of life, or Geokern or Hum, in the Farakhkert sea, and the great fish are the guardians whose roots have been lost to stay away from the bites of the demonic chelpases.For this tree of life, it is the social life of the people of this country, and the consumption form of life is that of the Chalpasgans, who are themselves the clay of Qomsheh, which is the root of this tree, that they have all sunk in, and I wish our artists would take care of this life.