Abstract
In the 5th and 7th centuries A.H., was created great transformation in all arts, industry, and sciences (including pottery art). Seljuk potteries, were restored the glaze technique, so can be attributed lusterware style to them. Kashan at the beginning of the seventh century A.H. was one of the major centers of pottery and for several decades produced wares that they had fine technique. Almost contemporary with Iran, Raqqa in Syria under rule of Ayyubid, was became one of the major centers for the production of pottery and artwork. The traces of Raqqa and Kashan are so similar, so that it is sometimes difficult to distinguish them. The purpose of this article, identify similarities and differences is between two styles of pottery of Kashan and Raqqa, and eventually, identify of interaction is between these two styles. In this regard, in this study, we have tried to answer the following questions: What are the similarities and differences between these two styles of pottery? Which of these two styles of pottery is older? The research method in this article is based on method of descriptive – analytical, and from library resources has been used to explain the subject. By reviewing the traces of lusterware style of Kashan and Raqqa can achieve some kind of fusion style that is influenced by the art of pottery of Iran. So, pottery style of Kashan has been older and potters of Kashan have been able to many of techniques and decorative art themselves transferred to Raqqa.
Keywords: Seljuk, Ayyubid, Lusterware, style of Kashan, style of Raqqa.

Introduction
In Seljuk period (fifth and sixth century A.H.) significant progress in all arts, especially pottery art was happened. In this period, all known pottery techniques were used: engraving, relief-work, latticework, gilding, and enameling. The traces with decoration of luster glaze are one of the innovations of this era. The attractiveness this type of glaze, was creation of golden and metallic polished in potteries without use of the gold. The Ayyubid period in Egypt and the Eastern Mediterranean, not only in the field of conquest and war, but also from the point of culturally was effective. They created new styles in the arts, but their rule was short. The Ayyubid pottery is known more with Raqqa pottery. By studying the traces of pottery this period, we could be identified combination style that has been under the influence of pottery art of Iran and Egypt. Almost contemporary with Iran, Raqqa in Syria under rule of Ayyubid, was became one of the major centers for the production of pottery and artwork. The traces of Raqqa and Kashan are so similar, so that it is sometimes difficult to distinguish them. In this study, we have tried to answer the following questions: What are the similarities and differences between these two styles of pottery? Which of these two styles of pottery is older? The research method in this article is based on method of descriptive – analytical, and from library resources has been used to explain the subject.

Research findings
Kashan at the beginning of thirteenth century A.D. was one of the major centers of pottery. This city for several decades has produced crocks of very delicate. In Kashan was produced group of slip-painted ware that including are types of bowls, trays, and decanters. Second group from Kashan pottery is lusterware that including: bowls, trays, decanters, vases, jars, and wall tiles. On the tiles of Iran in Seljuk period has been used different decorations such as human and animal and foliage, and effect of painting art and book designing can be seen in all of them. In lusterware style of Kashan less than blue color has been used in glaze. All portions of pottery are decorated with painting of women’s pictures, girls, arabesque motifs, and Farsi and Arabic inscriptions. Generally, the pottery of Kashan in Seljuk period can be classified in the following types: bowl, dish, drinking bowls such as jar, decanter, ewer, and also types of dishes with human and animal forms, and Star-shaped tiles.
Raqqa in Seljuk period was only center outside of Iran that created significant amount from pottery and art tiles that in terms of technique were distinctive. In Raqqa has been made pottery with relief decoration (Barbotin), unglazed, muddy relief decoration, and with green and blue glazes. relief decoration, with green and blue glazes. Another technique, painting with Azure and Cyan colors on glazed liners. These crockeries were decorated with lusterware technique. The decorations of Raqqa pottery are divided into two main groups: first group, main designs that are usually human or animal; and second group, decorative motifs that have done in the background. Raqqa pottery is classified into the following types: bowl, dish, jar, and decanter. 

Conclusion
In the Seljuk period beautiful products of Kashan pottery have been exported to throughout the Islamic world and this has led to the expansion of Kashan pottery. On the other hand, pottery of Raqqa style (that as an inseparable art of the Ayyubid period that was formed in the city of Raqqa and on the Euphrates coast) was similar with pottery style of Seljuk period. The traces of Raqqa and Kashan are so similar, so that it is sometimes difficult to distinguish them. However, the construction of lusterware before the Iran in Egypt and Iraq has been common and arrived in Iran through Iraq, but peak of the production of this pottery has been in Seljuk period and in Iran. According to this, the possibility of the migration of Kashan artists to the Raqqa or neighboring countries could be true.

Among the finest artistic productions of the Safavid period is lusterware, which continued the tradition that flourished during the Middle Islamic era. Despite brief references in some sources to the distinctive nature and form of Safavid lusterware, no independent and focused study has been conducted to date. Therefore, given the formal characteristics of existing lusterware, this study aims to classify them in detail to achieve a more comprehensive understanding of their forms and then to conduct a comparative analysis with blue-and-white ceramics. To achieve this goal, the following questions have been raised: “Into what formal categories can the lusterware of the Safavid period be classified?” and “In terms of form, how do Safavid lusterware correspond to, or compare with, their contemporary blue-and-white counterparts?” In this research, data collection has been carried out through library and field methods, and the study has proceeded with a descriptive-comparative-analytical approach. The statistical population comprises 69 Safavid lusterware pieces and 40 blue-and-white vessels, which, in turn, represent 486 lusterwares and 106 blue-and-white ceramics selected as representative samples of each type based on their formal characteristics. The results of the typological study of these vessels indicate that the lusterware comprises 17 groups, which fall into two main categories: Open forms, such as dishes, bowls, and cups (Piyaleh); and closed forms, such as ewers, bottles, and pitchers. Moreover, although the two pottery types exhibit considerable typological similarity, the lusterware demonstrates greater formal diversity, whereas the blue-and-white ceramics are relatively finer in execution and somewhat larger in scale.

Pottery has long been one of the key mediums for expressing cultural elements in Iran. The decorative motifs used in this art form are deeply rooted in Iranian culture, literature, religion, and political contexts, immortalized through the innovative creativity of Iranian artists. Among these motifs, the “Waq Tree” or “Talking Tree” stands out as one of the most prominent decorative elements, particularly gaining attention during the Ilkhanid period. This motif, which combines natural, imaginative, and mythical elements, was employed in the luster tiles of Takht-e Soleyman and reflects a profound connection between humans, nature, and animals. This study aims to address why this motif was prominently featured and executed by artists during the early Ilkhanid rule at Abaqa Khan’s palace in Takht-e Soleyman. It seeks to explore both visual representations of the examples and their associated cultural foundations. Using a descriptive, analytical, and historical approach, supported by imaging of historical samples, this research concludes that the painters of Takht-e Soleyman’s luster tiles depicted wild animals such as deer, gazelles, and rabbits instead of humans—who are typically central to illustrations of the Talking Tree. The choice of wild animals over human figures may reflect the nature-oriented tendencies of the Seljuks and Mongols. This selection also highlights the influence of Mongol culture on Iranian art—a culture that introduced animal anthropomorphism as a prominent element in literature and art. The Waq Tree, rooted in Iranian and global folklore, symbolizes a deep connection between humans, nature, and living beings. This mythological concept is intertwined with ideas such as the sanctity of nature and the bond between the human world and the natural world. The depiction of this motif on Takht-e Soleyman’s luster tiles demonstrates the artists’ efforts to convey these concepts, which were innovatively reimagined during the Ilkhanid era.