Navid Ahchgan, the author of the books “Silent Standing Stones” and “Pottery: A Document of Identity”, spoke about the Shahriyeri site:

“The standing stones of Shahriyeri are symbolic archaeological artifacts that convey deep metaphysical meanings and reflect the human relationship with life after death. The motifs on the stelae are human figures, mostly simple and abstract. Many of the stelae depict belts and daggers. In the most abstract stelae, except for one, the figures lack mouths. The stela that has a mouth symbolizes the ‘mother’, reflecting the significant role of mothers in the culture and society of that time. The mother’s words carried weight within the family, and all members respected her authority. The elevated status of the mother in the folklore and history of Azerbaijan regarded women as sacred. Hence, most stelae are depicted without mouths, emphasizing that one voice—the mother’s—should guide all. In Azerbaijani culture, with roots in the civilizations of the Mannaeans, Urartians, and Medes, the role of the mother was highly prominent, not only in biological terms but also in cosmic and ritual dimensions.”

Regarding his book “Pottery: A Document of Identity”, Ahchgan noted:

“Iran and Turkey, as two ancient lands and cradles of Islamic art, hold a distinguished place in the history of global pottery. Iranian pottery, in terms of both antiquity and technical diversity, predates Turkey. The influence of Iranian pottery is clearly seen in Iznik ceramics, from turquoise and cobalt colors to traditional motifs like the Shah Abbasi flower and Islimi patterns. According to researchers such as Arthur Pope, Julian Robinson, and Norbert Eschmeyer, many master artisans of Iznik originally migrated from Mosul, Tabriz, or Kashan to Anatolia, transferring their techniques to the Ottoman Empire.

In summary, in the historical and cultural interaction of pottery between Iran and Turkey, Iran served as the originator, while Turkey became the developer and institutionalizer of the art. Iranian pottery exhibits historical precedence, technical diversity, and aesthetic complexity. However, in the contemporary cultural economy and global presence, Turkey has made more effective strides. This interaction should not be viewed as negative competition but as a reflection of bilateral cultural potential, which through scientific, artistic, cultural, and media cooperation can become an opportunity to strengthen cultural diplomacy, achieve sustainable development, and preserve the artistic heritage of the Islamic world.”