Under a section called “Art in America” regarding Eastern pottery in The
Met Museum published in a 1909 edition of The Burlington Magazine, Garrett Pier
writes:
“Among the many countries embraced under the above heading, Persia would
naturally come first, since her productions, in almost every branch of
decorative art, have ever been superior to those of the countries that surround
her. With the single exception of the Greek, no race of ancient times has so
vividly stamped the individuality of its taste upon more recent epochs than has
the Persian. A genius for decorative art and a gift of colour, seemingly inherent
in the race, have been fostered by a continuous national existence, for the
Persian…”
Additionally, Agnes Haigh writes in the same 1909 publication that medieval
Iranian ceramic art “was a native, not imported, growth and was developed from
traditions of an art which, before the time of the Achaemenian dynasty [550-330
BCE], had assimilated many of the elements of the ‘Mycenaean’ art which
lingered on in a modified form in the islands and coast-land of Asia Minor. The
knowledge of this art was introduced into Damascus and Rhodes at the beginning
of the sixteenth century, at the time of their conquest by the Ottoman Turks,
whose only culture was that which they had learnt from the Persianized Seljuks.”
[pic ceramopolis @ V&A Museum UK: Kashan, Iran, 13th century… for educational
purposes only]