Abstract
The Polychrome Enobe pottery attributed to Neishabour is one of the unique pottery of the Islamic era, which has many divers and symbolic motifs. According to the role of the ingredients of these pottery, they were created in deep connection with the mythological and religious beliefs of the people of the third and fourth centuries AH; Therefore, the correct interpretation of these pottery designs helps to understand the social, cultural, political and religious conditions of the people of that time. One of the illustrated symbols on these pottery is the symbol of a camel, which is drawn on a Polychrome bowl and is kept in the Reza Abbasi Museum. The camel drawn on this pottery is important because it seems to be indicative of deep concepts regarding the sanctification of “Camel” in Neishabur society. Until now, no purposeful study has been done to interpret the depicted camel on this pottery; Therefore, the authors are trying to study the symbol of the camel depicted on the pottery in this essay with “Iconography” method with the approach of “Erwin Panofsky”. To achieve this goal, the questions; what is the symbolic meaning of the camel depicted on the Polychrome bowl of Neishabur in relation to the jar and the bird? The Polychrome Enobe bowl with the motif of a camel, in combination with other motifs, is derived from the beliefs of which stratum of society is Neishabur? It has been suggested that in order to get the answers to the questions, the research method adopted for the future research is a library with a descriptive-analytical-historical approach, in which the discussed pottery motifs are analyzed first, and then to interpret its symbol with Panofsky’s three-step method. The result of the study of the camel symbol is that the motif of a camel with a jar under its belly and a hoopoe bird seems to be derived from the principles of Zoroastrian purification and also the Gomiz healing properties of camels among the Muslims of 3rd and 4th centuries AH living the north east of Iran. 
Keywords: Iconography, Pottery, Polychrome Enobe, Neishabur, Camel, Gomiz.

Introduction
The Polychrome Enobe pottery attributed to Neishabur is one of the most important and unique pottery produced in northeastern Iran after the arrival of Islam in terms of diverse and symbolic motifs. In addition to visual beauty, the patterns of the above pottery always have a special place in the studies of researchers in the field of art, especially archeology, due to the fact that they have special and symbolic scenes. The importance of studying the reinterpretation and origin of Polychrome Enobe patterns is due to the fact the researchers such as Lin (1948), Wilkinson (1973), Zack Nissen (1973) and Samavaki (2021) believe that the motifs of, the works on these pottery are often in deep connection with the mythological and religious beliefs of the people of the 3rd and 4th centuries AH. The symbolic concept of the camel with the symbols of the evil eye, which destroys demonic forces, finds more expression for the interpretation of the sanctification of Gomiz. A Polychrome Enobe bowl attributed to Neishabur with a camel motif and the symbolic concept of the sacredness of the camel cannot be applied to a specific stratum.  According to this belief, it is derived from the beliefs of the people as a result of the fusion of Zoroastrian religion with Islam as a result of political events parallel to the Abbasid rule in the third and fourth centuries of AH and was deliberately created by Zoroastrians, changed the Gomiz of a camel, a sacred animal in the Muslim belief, to cow Gomiz in order to preserve the tradition of purification, and it seems that they were able to preserve this tradition for themselves. With this reasoning, the mentioned bowl has a double meaning in the belief of Muslims and Zoroastrians; In a way, the special place of “camel “among the common people of the third and fourth centuries AH by drawing a camel and other figure such as a bird, a jar and the symbol of the evil eye, draw a picture. 

The Iconography of the Camel Symbol Depicted on the Polychrome Enobe Pottery Attributed to Neishabur 
In this part of the research, which is also the main body of the research; The symbol role of the camel in connection with other motifs in the Polychrome Enobe bowl of Reza Abbasi Museum is studied with the iconography method in three stages of description, analysis and interpretation. The bowl Polychrome Enobe attributed to Neishabur under the registration number of 1371 is kept in the Reza Abbasi Museum. In the central circle of the bowl, a camel with a single hump can be seen in light brown color with a six- petals flower pattern on the body with an embossed background. On the body of the camel, three curved lines are drawn near the front and back legs. The head and face of this camel is depicted upward and clinging to its hump with a big eye on its face. The camel ‘s tail is black with a few short branches and its hoovers are clearly marked with black inks, and there are two parallel blabk lines on the camel ‘s left hand near the neck, which may be a sign of decoration. To the left of the camel, a bird with a long abstract crown, which is probably a hoopoe can be seen. The head of this bird is light brown and its body is black with wings with a black checkered pattern on the body.  Under the camel ‘s belly, there is an image of a jar with a long base and a wider base compared to the mouth of the jar, in black color. On the body of this jar, there are four flowers and two abstract wings on both sides of the jar. On both sides of the jar, two circles are drawn with a dot in the middle, which seems to be a symbol of the evil eye. It should be mentioned that these circles that look like evil eye are distributed in the entire field of the dish. In front of the camel ‘s neck, there is a flower in the form of a Slimi. Also, in front of the camel ‘s neck and legs, a pseudo-inscription can be seen in back. Around the legs, hands and top of the camel’s head, four and six features’ flowers are drawn in pea color dots in the middle of each flower. A narrow light brown band surrounds the central circle. There is a pea color background with green and black coloured spots, with the symbol of the evil eye (fig 1). 

Conclusion
Research to reread the symbolic meaning hidden in the symbol of the camel depicted on a Polychrome Enobe bowl attributed to Neishabur by posing questions: what is the symbolic meaning of a camel depicted on a Polychrome Enobe bowl of Neishabur in relation to the jar and the bird? And the Polychrome Enobe bowl with the motif of the camel, in combination with other motifs, is derived from the beliefs of which segment of the Neishabur society? The idea of the research in line with the questions posed by Panofsky’s iconography method was that the camel has had a special and mythical place in the opinions and beliefs of people in different periods of history. This scared place of the camel can be traced in the third and fourth centuries of AH with the symbolic motif of the camel in the Polychrome bowl attributed to Neishabur. The symbolic meaning of the camel depicted on this pottery refers to the beliefs of Zoroastrians and Muslims about the cleansing and therapeutic properties of camel Gomiz in the third and fourth centuries AH of the living in the north east of Iran. This opinion takes on more expression by combining the motifs of the jar with two abstract wings, the head (pointing at the camel’s hump) and the symbol of the evil eye; so that the two abstract wings drawn on the body of the jar refer to the sacred aspect of camel’s Gomiz in the belief of the common people. Hoopoe, with the symbolic meaning of the pike, is a manifestation of God Soroush to destroy demonic/ satanic forces. 

Abstract
In the study of slipware colorful pottery, it has always been the focus of various researchers due to its unique motifs.  During the past few decades, researchers have studied the patterns of the above pottery with different approaches. Despite the researches that have been carried out in the direction of rereading and interpreting the motifs, there are still ambiguities and challenges. One of the challenges in the interpretation of Polychrome decoration under transparent glaze pottery patterns is the illustrated illustration on a plate that is kept in the Nelson Atkins Museum of Art. In their research, according to historical texts, researchers have presented different opinions regarding the role of the above plate, and it is believed that their interpretations have fundamental problems. It seems that the study of historical texts alone is not a solution to the interpretation of the above illustration, and interdisciplinary science studies should be used to investigate the illustration of this container in a separate research using ethno-archaeological studies.  Study and review. In this research, the Authors are of the opinion that by following the archetypes in the geographical context of the production of Polychrome decoration under transparent glaze pottery, the study scope of which includes the Khorasan region; to study the illustration of the plate, in order to achieve this goal, the Authors have used ethnographic studies and historical documents to interpret it. The research method of the upcoming research is a library with a comparative historical-analytical approach. In line with the above goal, questions such as what is the concept of the illustration of the colorful goblet plate? It has been proposed to what extent ethno-archaeological studies can be applied in the interpretation of the illustrated illustration on this dish. The result of the comparative research of ethno-archaeological studies and historical documents is that the theme of the illustration engraved on the plate is the ritual ceremony of asking for rain and water from the goddess Anahita and Tishtar, which is held today in the Khorasan region with changes in the way the ceremony is performed. 
Keywords: Pottery, Neishabur, Polychrome Decoration Under Transparent Glaze, Ethnoarcheaology, Asking for Rain.

Introduction
Polychrome decoration under transparent glaze pottery was produced in the 3rd and 4th centuries AH and parallel to the Samanian rule in northeastern Iran, which are very prolific and diverse in terms of motifs. A samples of these pottery is kept in the Nelson Atkins Museum of Art. By analyzing historical texts, researchers have proposed interpretations for the illustration engraved on this plate. Despite the studies conducted with different approaches by different researchers, there are still uncertainties about the identity of human motifs. Therefore, it is necessary to investigate and analyze the identity of the human motifs depicted on the plate in a separate research using ethno-archaeological studies along with reviewing historical texts. Therefore, the aim of the Authors in this research is to study the illustration of plate by examining historical texts and archetypes in the geography of the production of Polychrome decoration under transparent glaze pottery, the scope of which includes the Khorasan region.
In the background of the plate, there are nested circles in black with oval motifs and blue-green with circular motifs. The central motifs are three human body performing a special ceremony. The two human body have two two-branched wings on their shoulders, which are hanging down, and according to the clothes they are wearing, their gender can be distinguished as male and female. On the left side of the central body, the role of a small human body with a strange face of incomplete creation is depicted. Between the central man and the body on the left, the motif of a bird with its head turned back and a multi- petaled flower, possibly a lotus, can be seen.

The Role of a High-Ranking Lady
One of the motifs of the plate shows the role of a high-ranking lady sitting on a chair. The high-ranking lady is probably a symbol of the gods believed by the people of the third and fourth centuries due to the presence of two pointed two-branched wings on her shoulders. It seems that the goddess with the rhyton in her hand is probably one of the gods associated with water.

A High-Ranking Man
The motif of a high-ranking man depicted on a Polychrome decoration under transparent glaze plate attributed to Neyshabur, like the motif of the goddess, is probably a symbol of the gods believed by the people of the third and fourth centuries due to the presence of two pointed two-branched wings on the shoulders. The male god is probably related to the water gods because he is next to the water goddess Anahita.

Plant Motifs
The lotus flower is called Abzad flower or the flower of life and creation in Farsi. Since this flower is related to water and in ancient traditions, the lotus flower was considered to be sacred and related to Anahita. Illustrated plant motifs on a Polychrome decoration under transparent glaze plate attributed to Nishapur, the plant pattern of the seat of the female deity, as well as the plant motifs around the body of the male deity and the ten-petaled flower between the male deity and a small human body by comparing the actual sample of the bud and the lotus flower and the obvious similarity with It is probably a symbol of the lotus flower.

Bird
On a Polychrome decoration under transparent glaze plate, the motif of a bird is drawn above the head of the male deity and the motif of a small human with his head turned back. The bird is probably a rooster symbol due to the abstract tail, several feathers on the body and also the crown on the head.

A Small Human Body
A small human body with a strange, imperfectly formed face, with eyes stretched vertically downwards, with open hands around him and a mouth on his cheek. to inspire a symbolic concept of him to the viewer. The small human role cannot be interpreted with the myth of Tishtar and Anahita; because there is no mention of its identity in opposition to the above gods in historical texts. Inevitably, in order to identify the identity of the small human role that can be referred to as the missing link and in the archetypes of the water myth, it was investigated in the geographical context of the production of Polychrome decoration under transparent glaze pottery attributed to Nishapur in the Khorasan region.

Conclusion
The result of the analyzes that were carried out in line with the proposed questions was that the scene of the celebration depicted on the plate was probably the narrator of the ritual ceremony related to water and rain among the people of the 3rd and 4th centuries in Nishapur. This result was obtained by identifying the patterns of the components of the plate with historical evidence and ethno-archaeological studies. Which could be identified with the identification of two human roles using historical texts with two wings and symbols such as lotus flower, rhyton, and cow horn hat. They were the gods Tishtar and Anahita. For the identification of the small human body with an ugly face, which gave the viewer a superhuman personality, the results of ethno-archaeological studies were also used by following its archetype in myths; Because she was assumed to be an ugly doll and also because she was placed next to the beautiful gods Anahita and Tishtar, she was matched with the ugly Qazak Chuli doll or the Opush demon in the Khorasan region with the ritual ceremony of asking for rain. The rooster is also depicted in opposition to the gods Anahita and Tishtar, and the doll symbolizing the demon Opush, a symbol of Sorush, which destroys the demonic forces of Opush. Therefore, according to the identification of motifs and their symbolic interpretation, the theme of the illustrated illustration on a Polychrome decoration under transparent glaze plate is related to the ritual ceremony of asking for rain in the 3rd and 4th centuries during a celebration that was accompanied by music and joy. The living manifestation of this archetype is the ritual ceremony of Choli Qazak among the people of Khorasan region in search of rain. The people of Khorasan in the seasons of drought and lack of rain make dolls that have been passed down from their fathers to them during ritual ceremonies with instruments and drums. And they ask for rain from the water gods with joy and enthusiasm.