Abstract:
This thesis investigates the often-overlooked blue molded monochrome ceramics produced during the Seljuq period in Iran, spanning the mid-eleventh to late-twelfth centuries. While previous art historical studies have focused primarily on luster and mina’ wares, this research aims to highlight the significance of these blue monochrome ceramics within the broader context of Islamic material culture. The blue monochrome molded wares are found in thousands in important museums and private collections. In this thesis, I examine one-hundred-sixty-three selected pieces. By examining the diversity in function, materiality, and style of these ceramics, the study reveals the intricate production techniques and material innovations, particularly the use of the new fritware body. Despite the unifying aesthetic of the blue glaze, which can obscure the richness of decorative motifs and shapes, this thesis proposes a set of identifications. It categorizes a wide range of ceramic forms, styles, and functions. These wares are contextualized within the contemporary artistic trends of the period. The decorative styles reference architecture, metalwork, glass, and textiles. Nevertheless, the shapes rely on imported Chinese wares and attempt to reflect the aesthetics of translucent white porcelain. The various qualities permitted widespread access across various social classes, from the upper to lower middle classes. The wares depict highly refined vivid carvings with charming shapes as well as low-quality carving and wobbly asymmetrical shapes. The monochrome molded wares were a solution for the mass production of glazed wares while keeping a high aesthetic standard.
