Abstract
The existence of route such as the Khorassan highway and the Shah’s subway in the Hamadan have made the region known as an important station throughout the historical periods. In the Islamic era, these trade routes have led to the emergence of various types of pottery cultures in the region. Due to the influence of the pottery cultures of Hamadan from the large areas of Islamic pottery production, this research has tried to address the issues such as: the era of Islamic pottery of Hamadan region? Which types of Hamadan region have local cultures? With the aim of identifying various kinds of clay of the Islamic period of the region, which is carried out through the study of archaeological data, a variety of pottery styles of the Islamic Ages are identified and introduced. During this research, more than 12 pottery styles were identified. All these types of pottery date back to the early centuries, the Middle Ages, and the later centuries. In the first centuries a variety of Unglazed pottery’s, Flower-shaped species and Sgraffiato were obtained. In the medieval pottery the types of pottery can be mentioned: Monochrome, Unglazed pottery with marble and mosaic designs, Ghalam Meshki, Silhouette, Lakaby, pottery of Sultanabad, Zarinfam and the Blue and White of the Middle Ages. The last group of Islamic pottery of Hamadan is related to the late centuries. During this period, the production of species such as Blue and White Safavid era and engraved pottery on ghosts with abnormal designs are prevalent.
Keywords: Hamadan Region, Pottery Styles, Islamic Era.

Introduction
Hamadan is one of the areas that has had a strategic position throughout history. This area allowed the Central and Eastern Plateau to connect with the West and Mesopotamia. The existence of major routes such as the Great “Khorasan Road” and the “Royal Road” route has affected the region’s transformations in the various cultures of human societies. For example, during the survey and archaeological excavations in this region the influence of the Yanik culture from the northwest and the Black on Buff  Ware (BOB) from the southwest on this region has been determined. One of these developments is the creation of various styles of pottery of the Islamic era. Surface surveys on the Islamic period of the Hamadan region indicate that in this region various types of pottery styles have been used in different parts of Iran. However, except for the alternate and two underground crumbling basins, the Samen (It’s a underground archaeological site in the southwest of Hamadan province) is still not one of the sites of the era Islamic, with the approach of identifying and introducing various types of pottery of Islamic era, has not been explored. Based on the data obtained from the archaeological excavations carried out in Hamadan (like Hegmatana, Arzanfood underground archaeological site, Samen underground archaeological site, Islamic city of  Darjazin and Zinoabad ) it seems that apart from the few centuries that, in the absence of exploration of the temporal exploration of the pottery cultures of this region, it is still unclear to our knowledge of the next century pottery, which is generally from archaeological surveys Gets more accessible. In this study, by studying these data, a variety of ornamental species commonly associated with the Middle Ages are known, such as simple mosaic-free glazed ceramics, graphite pottery, pencils, zarrinfam, aquatic blueberries of the Middle Ages, and others in Hamadan region.

Decorative Styles of Pottery of the Islamic Era in Hamadan
After reviewing all the archaeological sources of the area, 12 styles of decorative decoration of Islamic pottery were identified for the period of the early centuries to the late Safavid era. Decorative styles include: plain clay and glazes, all kinds of pottery with monochrome glazes, clay pottery with glazed pottery and stamping, scratching, lacquering pottery, all kinds of underbrush glazes, silhouette, types of painting on the glaze of type Zarrinfam, Sultan-Abad style pottery, famous blue and white pottery and various styles, generally related to the later period, the Qajar period.

Conclusion
The result of the study of Islamic clay data obtained from the archaeological explorations of Hamadan region is the identification of 12 species of clay. These types of pottery were each produced with different decorative features in different Islamic periods in this region. In general, Islamic pottery can be divided into three periods of the early centuries, the Middle Ages, and the later centuries. In the first centuries of the Islamic era, due to limited studies, the conditions of the cultures of the Hamadan region are not clearly known, but based on this limited information, a variety of simple ceramics without glazes, clay dipped and pottery clay. The next period is related to the medieval pottery. The pottery of this period has been identified in many Islamic sites of Hamadan. Among the types of pottery of this period are: monochrome pottery, unmolded pottery with decorated motifs, black pottery, silhouette, lakaby, pottery of Sultan Abad, pottery of Zarrinfam and blue and white species of the Middle Ages. The last group of Islamic pottery of Hamadan is related to the late century’s pottery. However, during this period, some species of pottery of the previous periods, with changes in the type of dough and motifs used, were still used, but the production of species such as blue and white Safavid era and engraved pottery on the glaze with austerity motifs from this era became popular. From late centuries later, in the area of Hamadan, pottery products have found local flavors and a variety of cultures have been created. The peak of this process is seen during the Qajar period and with the advent of Laljin. The city is still known as the largest pottery center in Iran, the center of which exports its own clay styles to different regions.

Abstract
Belqeis site or Old Esfarayen is considered one of the important urban centers in the Islamic era and in the North Khorasan province. Based on historical sources and archaeological excavations, this city has been inhabited since the early Islamic centuries until the Safavid period. So far, many books and articles have been published about this city and some of its archaeological evidence; But parts of its findings have not been published yet. Pottery from the 11th to the 14th century is among the archeological findings of this site, which have not been introduced and investigated in any independent research. These works include various decorative groups, some of which are less known. These factors show the necessity of conducting independent research in this field. The current research was based on two essential and main questions, which are as follows: How many groups were the pottery from the 11th to 14th centuries, what decorative features do they have, and which regions are they comparable to? What are the production centers of this pottery? According to these questions, the main goal of the current research is to investigate, analyze, and compare the pottery of the 11th to 14th centuries in the vicinity of the Belqeis site and to identify their possible production center or centers. The descriptive-analytical method was used to conduct the present research and the method of collecting information is based on field and library studies. As a result of the present research, various types of unglazed and glazed pottery from the 11th to 14th centuries of the area were investigated, described, and compared. In the meantime, some decorative techniques such as drop-drop glazing were also presented in the research for the first time. Much of the studied pottery was probably produced on the site itself, whose production evidence was also shown in the article. Still, some pottery, such as lusterware and celadon, was probably exported to this city from other centers such as Jurjan, Jiroft, Kashan and China.
Keywords: Pottery, Esfarayen, Belqeis Site, 11th to 14th Century, Islamic Era.

Introduction
Esfarayen is one of the ancient cities of North Khorasan province, which has been subject to calamities, looting, and attacks many times throughout history. Historians have called Esfarayen the border of Nishapur or Jurjan. Most of the transformations of this city are related to the 9 to 11 centuries; However, in the period of 12th and 13th centuries, it faced decline and was attacked twice by the Ghoz and then by the Mongols. In the 14 century and with the establishment of Sarbedars rule in the region, the city became relatively prosperous for a while, and this process continued until the Safavid period. According to these cases, it is clear that the life of the ancient city of Esfarayen continued continuously from the beginning of Islam to the Safavid period; This is despite the fact that our awareness regarding the archaeological findings of this city, especially its pottery, includes most of the early Islamic centuries. On the other hand, our knowledge about the pottery of the Islamic era of Greater Khorasan also includes the periods before the Mongol attack and after the Timurids came to power; While our knowledge about the pottery of the 13-14 centuries in the region is relatively small. Considering that the social life of the city of Esfarayen spanned the entire 11th to 14th centuries, it was necessary to investigate the pottery of this period in independent research. A subject that has not been independently addressed in any research so far. According to these cases, the current research is based on two essential and main questions, which are as follows: How many groups were the pottery from the 11th to 14th centuries, what decorative features do they have and which regions are they comparable to? What are the production centers of this pottery? According to these questions, the main goal of the current research is to investigate, analyze, and compare the pottery of the 11th to 14th centuries at the Belqeis site and identify their possible production center or centers.
Descriptive-analytical method was used to conduct the present research and the method of collecting information is based on field and library studies. Based on this, the pottery studied in this article is related to the archaeological excavations of the third and fourth seasons of the Belqeis site. After the initial documentation and description of these pottery, they have been classified and their comparative study with other sites has been done.

Discussion
In the present study, only the pottery was examined and studied, which included the 11th to 14th centuries according to the comparative dates. These potteries were divided into two groups, unglazed and glazed, and each group was examined separately. The unglazed pottery of the area has a clay paste in the color range of pea, red, green, and black, and various motifs are used on some pieces. Some unglazed pottery from the area, such as red paste samples, probably from Jurjan or Jiroft, were exported to this area. But other decorative pottery, such as molded and stamped samples, were produced in the area itself.
The glazed pottery of the area also has various clay pastes, frit-ware, and porcelain. The single-colored glazed examples of the area generally have a frit paste, and most of them are turquoise-green in color. Most of these production pieces were probably from the Belqis site. Among the single-colored glazed pottery of the area, scattered pieces of Celadon pottery were also identified, which imported from China in the 14th century. Pottery with the underglaze painting technique has a lot of variety and is generally frit-ware. Some of this pottery, such as the blue and white samples, was probably the production of the area itself, but the pottery, such as the Silhouette and Sultanabad samples, was exported to this area from other centers such as Jurjan, Nishapur, and Kashan. have been Lusterware pottery, which all belong to the 13th century, are exported from other regions such as Jurjan or Kashan.
It should be noted that in the excavations of the site, in addition to the pottery kiln, many slags were also found inside the kiln and its surrounding areas. Among the evidence of pottery production in the area, we can mention the following: scattered pieces of clay molds, three, four, or multi-faceted clay stamps, and many pieces of clay balls that sometimes have glazes on them. It can be seen, many pieces of pottery tripods, clay chines, unglazed or glazed pottery, deformed or stuck together, crudely carved pottery, and objects Cone-shaped pottery that was obtained along with other findings related to pottery production.
According to the existence of this solid evidence as well as petrographic studies conducted on some terracotta pieces, it can be assumed that many of the studied terracotta pieces were produced in the area itself; But some pieces, such as examples of lusterware, Celadon, Sultanabad, and some painted red paste pottery, were imported from other centers such as Jurjan, Nishapur, Jiroft, Kashan, and China.

Conclusion
The present research was carried out with the aim of examining, comparing, and dating the pottery of the 11th to 14th centuries of the Belqeis site and also identifying the possible centers or centers of their production. As a result of the present research, various types of unglazed pottery of this period were investigated, analyzed, and compared. As an example, pottery with drop glaze decoration was introduced and it was checked that this decorative method was used in combination with other motifs on the unglazed pottery of the area. Due to the fact that in addition to unglazed pottery, evidence of pottery production was also obtained in the excavations of the area, it can be said that most of the unglazed samples were probably produced in the area itself; But pottery such as unglazed embossed red paste with stumpy decoration and sphero-conical vessel pieces were probably exported to this area from the two centers of Jurjan and Jiroft. Because the production evidence of this pottery was obtained in these two centers and the form and patterns of the pottery in the area are somewhat similar to the production samples of these two centers.
Many of the glazed pottery of the middle Islamic ages of the area, despite the great variety, were probably produced in the area itself; As an example, we can refer to the single-color turquoise glazed pottery of ferritic paste, the examples of single-color oil-lamps of frit-ware, and the blue and white pottery with a striped pattern. Apart from these cases, in the excavations of the area, scattered fragments of other pottery groups of this time period were found, which were probably imported from other centers due to less dispersion and lack of identification of proof of their production in the area. are as an example, we can mention the obtained luster-ware, Sultan-Abad, Celadon, and Silhouette pottery, which may have been imported from centers such as Kashan, Jurjan, and Nishapur.

Abstract
Lustre is an enamel painting on glass or glaze, which is baked in a furnace with a regenerating environment, and after the baking process is completed, it forms a shiny layer with a metallic polish. This metallic luster can be in different color ranges such as gold or copper red, which is created by copper and silver nanoparticles. The first works that have been obtained from the implementation of the Lustre technique are on glass containers. However, according to the theory of most researchers, this technique was used on glazed pottery from the 3rd century AH and continued. On the other hand, in the historical sources, the instructions of Lustre on Abgineh are discussed in the manuscript of Al-Durra Al- Meknuna. In the present research, it has been tried to answer the question, what are the points of commonality between the glass works of Lustre and the instructions of Risalah Al-Durra Al- Meknuna? The current research is of fundamental type and the scientific information and historical documents of the research were collected in the form of documents and then analyzed and explained using the descriptive-analytical research method. The results show that the elements used in the gilding of the glasses of the early Islamic periods are in accordance with the instructions of Al-Durra Al- Meknuna. Also, there is a match between Lustre’s glass works and the instructions of Al-Durra Al- Meknunain the way and implementation of coloring and also in the color variation.
Keywords: Glass of the Islamic Era, Lustre Enamel, Al-Durra Al- Meknuna, Lustre Glass.

Introduction
The method of collecting information will be based on library sources. The research method is based on the way of collecting information in the form of descriptive and analytical research and the type of basic research. In this research, it has been tried to collect Zarinfam glass works from books and also from the reliable sites of different museums.
An overview of the history of Lustre glass and the theory of transfer of Lustre technology from glass to pottery:
The theory of the transfer of Lustre from glass to pottery argues that the oldest documented date for the method of Lustre is related to glass and belongs to the 2nd century of Hijri and was produced in Egypt. This theory emphasizes that this technology was gradually transferred from Egypt to Basra, Iraq over time, and then transferred to pottery by Iraqi potters in the 3rd century AH. (Carl Johan Lamm, 1941; Akbari, 1393: 4 & Porter, 1381: 15; Carboni, 2001:51).
Finally, it should be mentioned that the basic questions regarding the works obtained from Syria, Iraq and even Iran remain unanswered and it is still possible to attribute the origin of Lustre glass to each of the mentioned countries. In an article entitled: Analysis of the theory of the transfer of gilded glass technology from glass to pottery, based on the treatise Al-Durra Al- Meknuna, Mirshfi’i has tried to emphasize that the oldest written work related to Lustre glass is the handwritten treatise Al-Durra Al- Meknuna written by Jaber bin Hayyan. And this treatise is even older than the Egyptian glass work (163 AH) which has been cited by researchers, and it shows the familiarity and production of Lustre by glassmakers in Iraq in the first half of the second century. In fact, it can be said that since the 3rd century A.H., Lustre flourishes on pottery and probably the production of Lustre glasses has decreased from this period onwards and then stopped. Of course, considering that in the book Javahernameh Nizami in the 6th century of Hijri, there are instructions that mention the production of Lustre both on pottery and on glass, it can be said that the production of Lustre on glass was still common until this time. is (at least in Iran). This is despite the fact that in the written works of the following centuries, such as Arais al-Jawahir and Nafais al-Ataib in 700 AH and even the treatise of Cipriano Piccolpaso in 966 AH, only the golden instructions on pottery were discussed.

Discussion 
Glass works with Lustre painting:
The collection and study of the works of the first centuries of golden glass have been taken from the written sources of the researchers as well as the works available in the prestigious sites of different museums of the world. This sample of works will help us in accordance with the instructions of Risalah al-Darrah al-Makununa. Finally, these works are compiled in table number (1) based on the estimated construction date.
Instructions related to Lustre glass in Al-Durra Al- Meknuna manuscript:
The instructions related to Lustre, in the treatise of Al-Durra Al- Meknuna, start from page 9 of the book and with the words: “Qal Jabir in the chapters of talawih”. Jabir used the word Talawih for Lustre. In the following, the instructions contained in the handwritten treatise of Al-Durra Al- Meknuna, have all been read and then translated into Farsi.

Analysis and adaptation of Lustre glass works with the instructions of Al-Durra Al- Meknuna
1- Analysis of the elemental composition of the instructions of Lustre in Risalah Al-Durra Al- Meknuna: From the analysis of the instructions presented in this treatise, it can be seen that in the instructions contained in the book of Al-Durra Al- Meknuna, metals such as copper and silver were used the most, so that copper was used in about 85% and silver in 73% of the instructions. In today’s research conducted by Brill and other researchers on gold, it has been determined that silver and its compounds cause a golden yellow color and copper compounds also cause a red color. The chemical analyzes of Lustre glasses from the early Islamic periods show that the elements used in them are in accordance with the instructions of Al-Durra Al- Meknuna. If Brill’s chemical study, regarding a number of golden pieces of glass in the Corning Glass Museum, also confirms this (Brill, 1970). Also, the description of the stages of implementation of Lustre and the baking conditions is a revival of what is clearly stated in the description of Al-Durra Al- Meknuna.
2- Match in color variety: Reading the instructions of Risalah Al-Durra Al- Meknuna shows that the instructions can create different color spectrums (Table 2). On the other hand, the examination of the works and samples presented in this research also indicates that Lustre is made in different color ranges such as yellow, dark brown, light brown, red, reddish, golden, blue, rainbow. . This shows that the artists used many instructions for painting Lustre and were not limited to one instruction. Also, in the early period of the emergence of Lustre, two or more colors were used together, which is known as multi-color Lustre.
3- Comparison of the instructions of Al-Durra Al- Meknuna and the works of Lustre glass according to the implementation method: Studying some of the instructions of Al-Durra Al- Meknuna, shows that Jaber emphasizes on the internal and external coloring of the object after presenting the instructions (image no. 4). The external and internal painting of objects in the presented glass works is quite evident and is one of the characteristics of Lustre glass in the early period. In pictures No. 3, 4, 5, 6, 7, 8, 12, 19 and 20, it can be seen that Lustre paintings were done inside and outside.

Conclusion 
The sample of works shows that there are a very limited number of works that have inscriptions containing information about the place of construction or the date. However, numerous works obtained show that Syrian countries such as Iraq, Egypt and even Iran were active in the production of glass painted with Lustre enamel during the Abbasids, Copts and Fatimids. The chemical analysis of the Lustre glasses of the early Islamic periods shows that the elements used in them are in accordance with the instructions of Al-Durra Al- Meknuna. If the chemical study of Brill, regarding a number of Lustre pieces of glass in the Corning Museum of Glass, also confirms this fact that there are silver and copper as the main material in the surface of the glass. Also, the description of the stages of implementation of Lustre and the baking conditions is a revival of what is clearly stated in the description of Al-Durra Al- Meknuna. And Jaber also mentions the baking of relish under the instructions. The technical reading of the treatise Al-Durra Al- Meknuna shows that the instructions of Lustre can create diverse color spectrums, as 12 different color spectrums are presented. Various elements, metals and compounds used in Jaber’s instructions are among the main and effective factors on the variety of colors created. In this way, copper compounds produce ruby-red and copper-red colors, and instructions with silver compounds produce green-golden or yellow-golden gilts. As Pradel has confirmed, yellow, brown and deep brown, amber, orange and sometimes gold colors are created by the combined use of copper and silver compounds. This issue shows the conformity of colored works and samples with the instructions of Al-Durra Al- Meknuna. Also, in the comparative comparison of the instructions of Al-Durra Al- Meknuna and the works of Lustre Shihrah based on the method of execution, it shows that Jaber emphasizes on the interior and exterior coloring of the object under some of the instructions. The external and internal coloring and painting of the objects in the presented glass works are quite evident, especially in the works such as cups, bowls, and especially the works that have stability, and this subject is in complete agreement with the instructions contained in the book of Al-Durra Al- Meknuna.

Abstract
The county of Tarrom Olya is located in the northern part of Zanjan province, for reasons such as having a diverse climate, and its special location, in the middle of the provinces of Zanjan, Gialen, Ardabil and Qazvin is potentially important from the point of view of archeology. However, the field and library research’s done in relation to this area has not been as satisfactory in comparison with its size and importance. In this article, for the first time, the settlements of the Islamic era in Abbar and Darram of Tarrom Olya county have been examined and studied based on archaeological documents and historical texts. For this purpose, the 1400 years of the Islamic era have been divided into three periods, including the first centuries, the middle centuries and the late centuries of the Islamic period, and have been studied and examined both in terms of historical texts and archaeological materials. As a result, 25 sites, historical hills, cemeteries and buildings related to the Islamic period, which were identified in the field survey of Abbar and Drram regions, have been categorized into one of the three mentioned sections based on pottery level and analyzed. The purpose of this research is to answer some questions about the quantity and quality of Islamic settlements in the region, tracing Islamic settlements or buildings of the region in historical texts and identifying the key Islamic sites in the study area. The result of this study indicates that a significant number of the Islamic sites identified in the studied area were dynamic settlements in the first and middle centuries of the Islamic era. Based on the data obtained from the survey, including the size of the sites, it seems that some Islamic settlements in the region, including the site known as Drram Castle, were an important central settlement in the Tarrom Olya county during the Islamic era. The result of this research shows that despite the importance of communication in the region, the ancient sites of the Islamic era in the studied area, in general, have a small size and remain almost as rural settlements.
Keywords: Tarrom Olya, Abbar, Darram, Islamic Era, The Northern basin of Qezel-Uzan.