Islamic art includes artistic traditions of countries that developed under Islamic rule or influence, these are the countries that are extending from Southern Spain to Central Asia. The works of art created in these countries are very different and similar at the same time. They are united by one style and the same purpose, but they are also characterized by strong local influence and influence form other nearby countries. Islamic art is represented by numerous works which have cultural, decorative and functional meaning. In the following paper I will examine the example of the mina’i ware Ewer (Fig. 1) in order show how these aspects are presented in the ewer of the 12 th century which is a perfect example of new tendencies and techniques in design of Islamic ceramics of the medieval period. The work of Fahmida Suleman states that Islamic ceramics “represent a very small percentage of the total ceramic assemblage produced in the medieval Muslim world” [1] . It was used for domestic purposes and comprised unglazed storage and transport jars and “unglazed bowls, platters, and receptacles, which were made for the kitchen, pharmacy, or market shop” [2] . However, with the introduction of new techniques of design, ceramics began serving for decorative purposes and was considered a sough commodity in courtly context. We see this in the actual ewer by considering the form of the object and decorative details, such as delicate paintings which were produced to symbolize a “good life” of the owner. The techniques of painting are typical for the 12 th century and show the new stage of development in the Islamic art which later became very popular all over the world. The analysis has shown that a chosen ever helps establish the way of development of the mina’i artistic style and follow its travel between other cultures, such as Chinese. The ewer presents a new type of luxury ceramics which was characteristics for Iran and neighboring countries in the second half of the 12 th century. It is an example of the luster painting technique. It was a very costly process and the ceramic vessels made in such way were very expensive. Consequently, only higher layers of society could afford to buy them. The process was quite difficult. A jar, or any other vessel was covered with glaze (white or a turquoise opaque) and fried: “The decoration was applied both under and over the glaze. Stable colors such as cobalt blue and turquoise, which could be fired successfully at a high temperature, were applied under the glaze before the first firing. The less stable colors — including red, black, and gold — were applied to the cold glazed surface and fixed in a second firing at a lower temperature” [3] . The ceramics of the period is very significant in religious and cultural context and related to the historical events. The ewer is decorated with figures taken from the Persian literature subjects, “The paintings on mina’i ceramics attest to the existence of a vibrant tradition of Persian illustrated manuscripts from this period, which is now lost. Indeed, both mina’i and Persian lustre portray visual and poetic themes derived from Persian literature, such as the Shahnama epic or the romance of Varqa va Gulshah, depicting warriors, heroes, lovers, and fantastical beasts” [4] The subjects of paintings were created to demonstrate happy and good life. The actual ewer depicts the figures of horseman in the upper regist