At a glance
- Region
- Persia & Central Asia
Summary
Script on it
Wilkinson describes many treatments: letters adorned with flourishes, interweavings or knots, or turned into a decorative band; inscriptions running round the wall as continuous text, repeating one or two words, or in short lengths alternating with a small ornament. 1 A particular type is a simple, closely packed lettering whose verticals look like radii as they repeat round the wall. 1
Colours of the letters
Letters are commonly black, occasionally red and rarely green; most of an inscription may be black with a few letters in red. 1 Wilkinson sees in this an imitation of the long-familiar custom of writing certain words in red in Arabic manuscripts, finds no demonstrable significance in it, and supposes the potter either lacked literary understanding or put artistic feeling first. 1
Connections
Inscriptions are sometimes set among outlined areas filled with dots, a treatment unknown in black on white ware but seen in the ware with yellow-staining black and in tenth- and eleventh-century lustre ware; the earliest known use of such compartments with inscriptions is in a manuscript of about 955, Wilkinson notes. 1
Connections
- Practiced in
- Nishapur
People and things also explored
Alkaline-glazed ware and its moulds· Black on white ware (Khurasan and Transoxiana)· Chinese wares in the early Islamic world· Colour-splashed ware· Monochrome glazed ware (Nishapur)· Buff ware (Nishapur)· Opaque white ware· Opaque yellow ware
Sources
- Charles K. Wilkinson, Nishapur: Pottery of the Early Islamic Period (New York: The Metropolitan Museum of Art, 1973) , p. 172
Cite this page
islam.museum contributors. “Polychrome on white ware (Nishapur)”. islam.museum, https://islam.museum/en/concept/polychrome-on-white-ware/. CC BY-SA 4.0. Last updated 2026-11-04.
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