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PROF BAHRAM KALHORNIA: part of the ideology and beliefs of the ancient people of Persia were expressed in these ceramics.
After the Mongolian invasion [Changiz Khan] the city of Neishabour was destroyed, completely.
In my opinion, removing Neishabour was due to enmity with this culture. Seyed M Vahid Mousavi Jazayeri has re-created those ancient ceramics.
They are his own designs, not imitations, but they are rooted in those ancient ceramics.
He re-discovered ancient ceramics, he detected glaze and colors. He experienced how to put letters or designs on the surface of ceramics.
They are very valuable works. I think that these ceramics should be purchased and kept by a museum, completely.
VAHID: there were two methods for writing on the ceramics. One of them is the “drawing method”; which are these ceramics in this category.
Their inscriptions were written by a qalam (pen); then, the inscription was carved and colored on the ceramic.
Most of the historic Kufic ceramics of Neishabour, which achieved a peak that cannot be reached again, were done with “calligraphic methods” [as the second type of Kufic ceramics]:
they wrote directly on the ceramics with their special qalams and instruments.
Some years ago, before I wrote on ceramics by pen myself, I met a scholar who had a publication on ancient Kufic ceramics.
I told him that my studies suggested that ancient artisans had a direct calligraphic method for the production of Kufic ceramics.
He told me that was impossible. He said that the inscriptions on those ceramics were painted, and then inked with the qalam (they did not do any direct calligraphy by the qalam or pen).
Fortunately, after that discussion which happened in Yazd city, I found some friends in Meibod city.
We met at traditional workshops that produced raw ceramics. Suddenly, they gave me a qalam and told me “write on ceramics”!
I told them that I have never written on ceramics. However, they persisted and I started to write!
Unfortunately, I have not exhibited that first Kufic ceramic here. However, it was a unique experience for me to prove to myself that my research-based theory was completely right,
and ancient artisans did use a pen (qalam) to write inscriptions on ceramics.
It is not correct to say that all ceramics were painted [pre-designed] by ancient artisans.
The pattern of those ancient ceramics were created spontaneously; without any pre-designing. And this fact increases the value of those ceramics, much more.
We are thanking you.
PROF KHORRAMSHAHI
DR ALI IMANI
He is illuminator of these manuscripts and is a deaf artist: Mr. Sarhaddi, the miniaturist and painter.
We are appreciating you.
PROF BAHRAM KALHORNIA and PROF KHORRAMSHAHI
PROF BAHRAM KALHORNIA: I feel that this kind of inscription was not to be read. Maybe my idea is surprising. They have been read as forms.
In Primary Kufic, there are some characters such as horizontal lines, modifications in the angle of letters that are very amazing; and are not designed for natural eye movements.
When we watch to contemporary sculptures of a British artist, it seems that he makes his sculptures by Kufic letters!
PROF BAHAODDIN KHORRAMSHAHI: Thank you for your idea; however, when they were written Quran, it was for reading.
PROF BAHRAM KALHORNIA: there are many things that are both for reading and also not to read!
When they were used a praying phrase on a piece of paper; people were kept that paper next to their heart [although they did not know what was its meaning or context).