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Beik-Mohammadi N, Variji A, Beik Mohammadi K, Yousefi Zoshk R. (2025). A Symbolic Interpretation of the Narrative Scene of Seafarers on a Polychrome Buffware Bowl from Nishapur from the Perspective of Historical Texts. Athar. 45(107), 73-104. doi:10.22034/45.107.3
URL: http://athar.richt.ir/article-2-1927-en.html

Abstract
The Nishapur polychrome buffware pottery, one of the paramount artistic expressions of the 3rd and 4th centuries Hijri, is deeply rooted in the beliefs and worldview of its makers, rich with symbolic meanings that provide insight into the cultural outlook of the time. Despite many scholarly attempts to interpret these motifs, several pieces remain highly controversial-such as the narrative scene of the seafarers on the polychrome buffware-painted bowl in the Reza Abbasi Museum. Previous interpretations often suffer from a lack of precision and arrive at inconsistent conclusions due to the absence of stringent comparative analysis. This study conducts a historical-analytical and comparative examination to investigate and re-evaluate this narrative scene. Based on historical texts and archaeological evidence, the authors raise the following research questions: What kind of symbolic meaning does the scene of the seafarers convey? Does it have mythological roots, and is it related to beliefs from various historical periods? The results suggest that the narrative reflects the worldview of the mercantile class of Nishapur. In fact, the imagery of sea travelers is linked to superstitions associated with astrology and celestial constellations, stemming from merchants' fears of maritime perils. Hence, rather than reflecting pre-Islamic mythology, the artwork reveals a deep interplay between art, myth, and astronomical knowledge within the cultural fabric of the time.
Keywords: Pottery, Nishapur, Polychrome buffware, Seafarers, Mythology, Astronomy.

Introduction
Polychrome buffware constitutes a distinct category of Iranian pottery that flourished in the 3rd and 4th centuries AH (9th–10th centuries CE), notably during the Samanid period in the northeastern part of Iran. The term “buffware” refers to the ceramic technique used in its production (Fehervari, 2000: 50; Blair & Bloom, 2004: 122; Watson, 2004; Kiani, 1978: 15). Although scholarly debates continue regarding the precise locations of workshops and the exact dating of these artifacts, researchers broadly agree that polychrome buffware was produced in cities such as Nishapur, Samarkand (Wilkinson, 1973: 3,139–138; Fehervari, 2000: 63; Watson, 2004: 248), Sari (Cooper, 2000: 89; Lane, 1948: 12; Wilkinson, 1961: 105), and Kerman (Fehervari, 2000: 61–63; Allen, 1989: 60). The polychrome buffware from Nishapur, in particular, stands out for its aesthetic complexity and thematic diversity, which are virtually unparalleled among ceramics excavated from the region. The motifs include vegetal, geometric, anthropomorphic, and zoomorphic designs—many of which potentially carry layered meanings and depict specific narrative scenes or culturally significant imagery (Ettinghausen & Yarshater, 2000: 141). In recent decades, scholars have made increasing efforts to explore the origins and cultural contexts of these artworks.

The Excavation of Buffware from Nishapur
Fig. 8 is a polychrome buffware bowl dated to the 3rd–4th centuries AH (9th–10th centuries CE), currently housed in the Reza Abbasi Museum under inventory number 231. This piece features one of the most intricate configurations of motifs found on ceramics excavated in Nishapur. The design comprises three concentric circles on a buffware background. In the central ochre-toned circle, a relatively small boat is depicted, carrying eight passengers, a giant fish, and a full-figure man standing on the shore.
The boat is rendered in buff color, with its hull surface covered in dense checkerboard and wicker-like patterns, black arabesques, and edged by an ochre band outlined in black. At the center of the boat is a stylized, decorative, vase-like object on legs, painted in black and white. A group leader, along with six attendants behind him, stands onboard. Facing the man on the shore, the leader holds a black-painted tiller or oar. He is depicted with narrow eyes, pronounced eyebrows, a long nose, a small closed mouth, a dark complexion, and a thick curly black beard. His straight black hair is tied horizontally at the back. He wears a long dark tunic with broad yellow bands at the edges and a black cloak over the shoulders, outlined with white brushstrokes extending to his hands. He is rendered larger in scale than the attendants behind him.
The attendants are shown in semi-profile with tilted faces, all wearing sorrowful expressions. Their features include large, staring eyes, connected eyebrows, long noses, small pursed lips, and curved black lines indicating mustaches and beards. Their hair is black and straight, pulled back. They wear long-sleeved tunics with round necklines and ochre backgrounds decorated with dark vertical and geometric lines.
An individual beyond the third attendant appears seated atop a mast-like structure. In his right hand, he holds a triangular flag embroidered with dots and a simple black border; in the left, he grasps a curved rope or stick. This mast structure is adorned with four symbols commonly associated with protection from the evil eye. The man on the mast has large, intense eyes, arched eyebrows, and long, straight black hair. His ochre-colored tunic is decorated with irregular circular motifs outlined in black.
Beneath the ship appears a large-bodied fish (likely a dolphin), with round, staring eyes and a closed mouth. Its body is marked with four prominent rows of buff-colored scales, several black fins, and a curved tail beneath the waterline.
The man standing on the shore faces the group leader and the ship’s occupants. He is shown with his body in a three-quarter turn and his face in profile. His wide, staring eyes, long eyebrows, thick straight black hair, and beard are adorned with decorative rings tied at the back. He wears a long ochre garment with a deep, round neckline extending to his long sleeves, which reach the wrists. The lower part of the garment falls below the knees and is paired with pointed black boots. His left hand is placed on his chest, while the right hand holds a straight, sheathed black sword.
Around the main scene’s periphery are painted multi-petal flowers and numerous motifs associated with protection from the evil eye. Some are brown-ochre, others light brown, simply rendered and closely aligned with the bowl’s rim.

Conclusion
In response to the first research question—the meaning of the narrative scene depicted on the Nishapur ceramic bowl-it can be asserted that, contrary to some assumptions, the scene does not portray ancient mythologies or pre-Islamic beliefs. Rather, a thorough analysis of its componentsa boat, a large fish, the anxious faces of the passengers, a man on the shore, and the figure atop the mast-reveals an allegorical composition reflecting astronomical superstitions and folk beliefs of the time, particularly among Nishapur’s merchant class.
Historically, given the strategic importance of Nishapur and the greater Khorasan region during the Samanid period as a key hub for trade between China, India, and Central Asia, it is plausible that a substantial merchant population lived in the area. Merchants, exposed to the dangers of oceanic trade, sought protection through celestial constellations such as Delphinus (the Dolphin) and al-Safīnah (the Ship), which they invoked for divinely guided prosperity. These constellations functioned more as mystical symbols than scientific references.
Regarding the second question-whether this scene relates to ancient mythology-there is insufficient evidence to support any reference to pre-Islamic mythological themes, particularly those involving water deities or afterlife beliefs. Therefore, the hypothesis of direct influence from ancient mythologies remains unsubstantiated.
Turning attention to the large fish beneath the vessel, its likeness closely resembles representations of the Delphinus constellation. The image of the boat, elevated on a kind of pedestal, can metaphorically symbolize the celestial path provided by this constellation to guide or save ships at sea. Likewise, the figure atop the mast with a sail and rope or stick may symbolize human efforts to invoke cosmic forces during times of crisis.
The man on the shore, holding a sword and seemingly in conversation with the ship’s rower, may represent an official or coastal guard. He appears as an authoritative figure, possibly involved in emergency communication with the ship’s captain (represented by the rower). Thus, the entire scene narrates a maritime crisis where humans also seek terrestrial oversight when facing danger.
There are two main reasons for the visual differences between the shapes depicted and their real astronomical counterparts. First, artistic aesthetics may have influenced the composition. Second, popular superstitious and astrological beliefs often reshaped celestial formations. These symbols were brought to life through culturally and spiritually informed perceptions rather than scientific precision.
In essence, the study concludes that the narrative scene on this Nishapur ceramic reflects a blend of superstitious and astrological beliefs prevalent in the 3rd and 4th centuries AH (9th–10th centuries CE). It is deeply intertwined with the concerns, fears, and hopes of the merchant class of that period. Thus, this interpretive reading-based on historical context, visual analysis, and cultural background-offers the most coherent and plausible understanding of this symbolic composition.