Introduction
Mend Gonabad pottery represents one of the oldest pottery production centers in eastern Iran and reflects the dynamic relationship between the local environment, indigenous culture, and regional workshop traditions. Among the wide range of motifs used in Mend pottery, the fish motif holds a distinctive position. Beyond its decorative role, it embodies various mythological, religious, environmental, and cultural meanings. However, an examination of contemporary production reveals that the status and prevalence of this motif within the visual structure of Mend pottery have undergone notable transformations.
Accordingly, this study seeks to address these questions:
What are the formal, stylistic, and compositional characteristics of the fish motif in contemporary Mend Gonabad pottery?
Which visual elements appear most frequently in the examined samples and can be recognized as recurring design patterns of the fish motif?
A review of the literature indicates that existing research has primarily focused on the historical, symbolic, and comparative aspects of pottery motifs, while field-based investigations into the visual characteristics of the fish motif in contemporary pottery production remain limited. The significance of the present study lies in examining the fish motif as an element of Mend pottery’s visual identity and analyzing its role within the context of active pottery workshops in the region. Therefore, through field documentation, formal analysis, and the examination of compositional structures in contemporary samples, this study aims to identify the visual characteristics and recurring design patterns associated with the fish motif in contemporary Mend Gonabad pottery.
Method
This study is applied in terms of its objective and adopts a descriptive–analytical approach based on documentary research and fieldwork. Field data were collected in 2025 through visits to and documentation of all 10 active pottery workshops and 14 pottery product stores in Mend, Gonabad. Data collection was carried out through direct observation and documentation of the production process, the application of underglaze motifs, semi-structured interviews with potters, pottery painters, and retailers, as well as photographic recording. The study population consisted of 82 pottery products, from which 15 samples containing the fish motif were selected using purposive sampling. The selected samples were chosen based on diversity in vessel type, compositional structure, and methods of motif execution. Data analysis was conducted at two levels: first, by examining the fish motif within the overall context of the vessel; and second, by analyzing the formal characteristics of the motif through linear reconstruction. This analysis focused on elements such as body shape, viewing angle, fins, tail, internal details, orientation, and the relationship between the fish motif and other decorative elements within the composition.
Results
The fish motif in contemporary Mend pottery demonstrates a relatively stable visual system despite changing conditions of production. Structural analysis shows that most representations feature elongated bodies with a consistent side-view orientation. The fish figures are commonly depicted with bifurcated tails, triangular fins, and segmented bodies created through parallel lines or hatching techniques. Compositional analysis indicates that the placement of the motif is strongly influenced by the geometry of the vessel. Circular arrangements are predominant on bowls and plates, whereas horizontal and radial compositions occur more frequently on cylindrical and vertically shaped vessels. Repetitive patterns, particularly triple and serial repetitions, remain common and contribute to rhythmic balance and visual harmony. Field observations indicate that economic factors significantly affect design decisions. Potters tend to prioritize production speed, cost efficiency, and market demands, resulting in simplified compositions and a reduced application of complex motifs. Interviews with artisans reveal that floral patterns are often preferred over fish motifs because they are easier and faster to execute within the limitations of contemporary production. Environmental analysis demonstrates a close relationship between the visual characteristics of the fish motif and the morphology of native qanat fish species. The elongated body shape, pointed fins, and segmented surface details reflect direct observation of aquatic life in local water systems. Linear abstraction of the motif shows a high degree of structural consistency across the examined samples, suggesting the continued transmission of visual knowledge and traditional design memory. Despite a decline in motif diversity, traditional patterns continue to survive through intergenerational learning and artisanal practice. Data triangulation confirms the consistency between field observations, interview findings, and visual analysis. These results indicate that the fish motif continues to function as a cultural marker shaped by environmental perception, inherited craftsmanship, and adaptation to contemporary economic conditions.
Discussion and Conclusion
The findings indicate that the fish motif maintains a relatively stable and systematic visual structure rooted in workshop traditions and the collective visual memory of previous generations. From a formal perspective, the predominance of elongated body forms, consistent side-view representation, frequent use of bifurcated tails and angular fins, and body segmentation through parallel lines and hatching patterns constitute the primary characteristics of this motif. These features reflect established visual conventions while also demonstrating a close relationship with the environmental conditions of the region, particularly the presence of fish in qanats and domestic water reservoirs. Accordingly, the formal structure of the fish motif in Mend pottery can be understood as the outcome of a gradual process of abstracting natural forms through the lived experiences and observational practices of local artisans. From a compositional perspective, the frequent use of triple and sequential repetitions of fish figures, along with their arrangement in accordance with vessel geometry (circular, horizontal, or radial), demonstrates artisans’ sophisticated understanding of surface organization. This structured repetition not only creates visual rhythm and balance but also carries symbolic associations with abundance, prosperity, and the continuity of life. Furthermore, the enduring combination of fish motifs with vegetal elements suggests a symbolic relationship with Iranian mythological traditions, particularly concepts related to the Tree of Life and the protection of vital resources. This association gains particular significance within the arid and water-scarce environment of Gonabad. However, the analysis of contemporary production conditions in the 2020s reveals that, although the visual structure of the fish motif continues to follow traditional patterns, its frequency of use has declined due to economic limitations and the demands of faster production. Compared with simpler decorative designs, the fish motif requires greater time and technical effort, which has reduced its presence in everyday workshop production. As a result, its application is now largely limited to special commissions and distinctive artistic works. Thus, the fish motif in contemporary Mend pottery exists within a dynamic balance between the preservation of traditional forms and adaptation to current economic realities. In response to the research question, this study concludes that the fish motif in contemporary Mend Gonabad ceramics represents a coherent and deeply rooted visual system shaped by the regional environment, artisans’ inherited knowledge, and the symbolic framework of Iranian culture. Nevertheless, its continuity and widespread application in the 2020s increasingly depend on economic conditions and market demands. Therefore, systematic scholarly documentation and analysis of this motif can contribute not only to preserving the visual heritage of Mend pottery but also to its meaningful revival and creative reinterpretation within contemporary Iranian ceramic art.