At the forefront of these components and elements is “Ba”, which we call “spirit”, and in the fact that the word “spirit” is not the most accurate meaning of this complex element that is difficult to describe and define in one word to the extent that the Christians of Egypt, when they translated the “New Testament” into the Coptic language, completely abandoned the translation of this word, because they realized that it does not express the deep concept that corresponds to Christian concepts and replaced it with the word Psyché¹, and what makes it more difficult is what is known in the name of “Alka”, which was considered by some as “consort”, which is also an inaccurate meaning².

But we are forced to deal with them as the consort and the soul, and we can say that “Ba”, which belongs to the physical or spiritual milieu, enabled the deceased to move and pass through the world of the dead, then to the courtroom passing through the fields of Oser and then joining the compound of the sun god “Ra”, and beholding the deceased was able to return to the world of the living, it is a “free spirit” that can join and separate from the corpse at any time, and this was expressed in the coffins of the human body in the late era, which included a text on the chest of the coffin (where the site of landing Bâ to unite with the corpse).

Many texts confirmed that “Bâ” belongs or ascends to heaven, while the body or corpse belongs or descends to the earth, and this can be read in the text directed from “Nabat Hat” (Nephthys) to “Tutankhamun”, saying: “Your Bs belong to heaven in front of Ra; your body is (Assmann, 2011: p. 88) in the earth with Osir, daily you rest (rest) on your body” (Piankoff & Rambova, 1955: p. 65) , and here it is necessary to differentiate between the “Bâ” of the average person, and the “Bâ” of the king; the first may be judged negatively by the court of the dead, and therefore do not enjoy his immortality, but the kings must join the sky where the sun god “Ra” and the “Bâ” of the king enables him to hwork as a god among the gods where he became ³Ax Because of his epidemic and this is confirmed by the texts of Al-Ahram.⁴

Ancient Egypt was associated with its neighbors with cultural links that grew and developed over the years, and with the expansion of the size of the Egyptian Empire in the modern state, relations increased significantly, and during the era of the third transition, Egypt was ruled in the twenty-second dynasty by kings of Libyan origins, and in the twenty-fifth dynasty Egypt fell under Kushite rule, then with the beginning of the twenty-sixth dynasty, the foreign presence in Egypt increased greatly so that they resided in their own colonies, followed by the Persian occupation of Egypt, which was reflected In the introduction to Chapter (125) of the “Annie” Papyrus of the trial, some of it concludes that the arrival of Egyptians to the courtroom also includes the arrival of different nationalities, and that the dialogue that takes place with the gatekeeper is attended by “Thoth” as an interpreter between foreigners and the guard, and therefore the foreigners were sharing the Egyptians’ concepts of the other world, and this view is supported by the recitation (1130) of the texts of the coffins (Quirke, 2013) , as shown in Figure 1(a): which says:

At the fifth hour of the Book of Gates, specifically in the scenes of the lower row, there is a very important text that talks about three races (Asiatics, Nubians, Libyans), the text says:

It seems from the text that the ancient Egyptians believed that the whole human race was created by “Ra”, he created them from his tears, including foreigners, and therefore they are held accountable in the court of the dead and their souls fly in the other world like the Egyptians, and if this is the thought of the Egyptians towards foreigners, did foreigners have the same thought? (Zandee, 1977: p. 239)

In fact, through archaeological evidence, it was found that the idea of “Bâ” has moved to the ancient country of Sudan, specifically the Meroitic civilization as shown in Figure 1, which developed the form of “Bâ”, where this civilization produced statues of “Ba”⁵ for the deceased in a complete human form, which was not known in ancient Egypt, so we find “Ba” in the form of a female depicted in the form of a woman Winged with drooping breasts This form is dated to the first half of the first century AD or earlier as shown in Figure 1(b),

I created the gods from my sweat, and human (people) from the tears of my eye⁶ (Faulkner, 1978: p. 167) .

which means that the form of “Bâ” continued in the country of Sudan until the first millennium AD, and it is of course an evolution from the Egyptian “Bâ” form, which was usually depicted in the form of ⁷a full “jabiru”, and this sign means soul or Bâ With the beginning of the modern state, it was sometimes depicted with human arms and hands, and the falcon became one of the birds that symbolize the “Ba” idol “Soccer” according to the book “Alami Duat”, and when this body ends with a devotee of a god, it refers to the spirit of God (Gardiner, 2007: p. 471) .

And during the late era in Egypt Appeared “Bâ” On some funerary paintings. For foreigners Egyptians Like a tombstone found in Saqqara for the Phoenician Syrian “Khe - Love”, that Pictures sitting in the upper row with hair, beard and clothes Greek Despite its Semitic origin⁸ and in front of him is a bird. “Bâ” in an Egyptian body Traditional as shown in Figure 2. ⁹This clearly indicates the leakage of Egyptian religious ideas among foreigners. at that time, and perhaps with time these ideas moved to neighboring countries، We may notice that Considering To the religious beliefs of the inhabitants of Mesopotamia when they believed that Human A composite object of two elements, the physical element that It is expressed by the body, and the second is a spiritual or invisible element and is expressed by the soul, and this belief is consistent with ancient Egyptian beliefs, even if the concept of the soul is multiple among the Egyptians, and the Sumerians have launched the word GIDIM On the deceased and his soul, but Akkadians They expressed the soul with a word etemmu that is separated from the body at death (Hanoun, 1986) .

The epic of “Gilgamesh” expressed this in the framework of a wonderful dialogue text in which he tells “Enkidu”. His brother Gilgamesh had his vision of dying during his illness, saying:

Oh Khali, last night I saw a vision, it was poison. He thundered, and the earth responded to her, and he stayed. I was standing alone, and a scary, faceless creature appeared in front of me, his face was like that of a thunderbolt bird. “Zou”, and his claws Like Allen’s nails Secret, he has stripped me of my clothes and my dwelling bomb Claw And he took my throat until my breath subsided, …He has switched He looked at me and led me to the abode of darkness, to the dwelling place (Arkala), to the abode from which no one who entered it returns, to the irreversible path of the traveler, to the abode whose inhabitants were deprived of light, where the dust is their food and the mud is their strength, and they are clothed like a bird with a cloth of wings. Feathers, living in darkness do not Ron Nora, … (Baqer, 2016: p. 70) . In general, it makes sense to portray gods and spirits as pure birds or as human beings with wings, as only these two forms enable any creature in the other world. From flying and moving freely (Hanoun, 1986) .

From this point of view, we will find that a number of the gods of the East Ancient Dana has been depicted with wings such as the goddess Ishtar and the Persian god. “Ahuramazzda”, so that the spirits Evil which is used in magic had wings (Pinch, 1994) ¹⁰, and it is the Jedir with to note that such spirits touch “Goblins” have found one of them in “Tanis”. It is a bronze statue of an Assyrian goblin called “Pazuzu”. It has a votive inscription in Semitic as shown in Figure 3 (Vittmann, 2003) , and knew “Pazuzu” in Mesopotamia as one of the demons of the wind.

Bâ seems to have met Sought with Foreigners residing in Egypt during the Late Era, so much so that one of them depicted “Bâ” in a new and rare form on an Egyptian Aramaic painting of a person named “Habi Men” Ibn “Akhamnish” It is a name that indicates the intersection of cultures. The first name is Egyptian and means “Apis Baq” (Pinch, 1994) , while the second sounds Persian and means “has the usefulness of a friend has filmed the painting is a mummy lying on a bed with stamp Egyptian، In front of him and behind him are the wailers, and the mummy is surmounted by a winged sun disk from which hangs an upright cobra serpent, and here it replaces “Bâ” when it lands to unite with the corpse, It is worth mentioning that “Bâ” in Egyptian beliefs sometimes appeared in a living form with the head of a falcon and means “the sacred Bâ of the pioneer of the Westerners.” (Zabkar, 1968: p. 84) And because the disk of the sun represented to the Persians an important signifier represented in their main idol “Ahuramazzda” Perhaps the artist here tried to combine “Bâ” into a living form, and “Ahurmazada” in the form of a sun disk to produce this unique shape as shown in Figure 4.

One of the unique scenes that date back to the late era also and greatly emphasize the mixing of ancient civilizations with the Egyptian civilization, and the influence of those civilizations by the idea of “Bâ” is what appeared on the tombstone of Memphis of one of the Persian nobles depicting him as a deceased lying on a bed subject to Near Eastern styles, and standing behind his head two wailing, while at his feet two men also wailing, and on both sides of the painting depicted two mythical beings, the upper half of which is a woman, while the lower half of a bird, and they look very similar to “Bâ” and seem to mourn the deceased as well. As their arms are above their heads as shown in Figure 5 (Gallo & Masson, 1993: p. 269) . It is worth noting that this body of composite beings has been known to the Greeks as “Syrines”, and it seems that this tombstone is the best evidence of the emergence of “Syrines” in Egypt, and this may have happened through the Persians, as it seems that the Persians and other foreigners who resided in Egypt have been greatly influenced by Egyptian religious and funerary customs and traditions, including, of course, “Bâ” (Bissing, 1930) .

Seren is a hybrid being whose body is the body of a bird and a human face for a female or a human torso for a female mostly has the ability to sing and play, and its origin goes back to the civilizations of the East precisely because this hybrid form did not appear in the Minoan civilization or the Mokyan civilization, and it was often depicted with arms to hold musical instruments and carry the dead (Luker, 2004) , the seren was mentioned in Homer’s Odyssey where the witch told Cyrce Adissius would sail near the island of Serenat and in order to survive he and his crew must block the ears of his sailors with wax and tie himself to the ship’s mast so that he could hear their singing without responding to them and die (Godby, 2011) . But rather deceive their heart with their singing and push it to meet its edges, and their danger lies in the beauty of their singing, their extensive knowledge and their promises to their victims to give them this knowledge¹¹.

The Seren appeared as an extension of its presence in Greek art and had such a religious status that the Emperor Tiberies (14 - 37) revered it as it was believed to be highly knowledgeable about what was happening throughout the earth, everywhere and at all times²¹.

It is depicted on a ship with three sailors, although there are seven oars indicating the loss of four sailors, three serens, three dolphins, wingless serens, which is rare to appear without wings, and the bird’s part of the serene in the form of a long-legged waterfowl such as swans and bushrush, and the three horns were depicted buzzing on the ship, one of them carrying a harp (Figure 12(b)), and the second serene carrying a flute (Figure 12(c)), and Adisius tied in the mast of the ship as stated in the advice of the witch Kirki, but here the details of the Odyssey are not adhered to, where it appears that four sailors who have died after being charmed by the Serenat sing it, and the sailors appear frustrated and desperate, where the third appears on the left opens his mouth in frustration and the other bends in exhaustion, it takes them more effort and endurance, and the Serenat laugh as if they are expecting a near victory, their singing will force the sailors to surrender to meet death (Mourāo, 2015) .

Figure 12(a) shows a part of a mosaic in a fountain dimensions 60 × 98 × 260 cm belonging to Cherchell Algeria and preserved in the Cherchell Museum in Algeria (Mourāo, 2015) .

Here Odysseus overcomes the serenas not only thanks to following the advice of the witch Kirki but also helping the dolphins, the friend of man, who appear in front of the ship as if guiding her to escape the serens, and in this mural she feels that they are the parabola of life, death, creation and destruction, the creation represented by the sea from which Aphrodite was born. As for the destruction, it is represented in the serens, even the serenas are part animal barbarian killer and part human in which the talent of singing as one of the ways of creativity and the witch Kirki is the benevolent female who helps men to overcome the temptation of women and the mural also represents an example of the ability of men to resist the seduction of women (Mourāo, 2015) .

The writings of the fathers scorned the pagan inheritance of Roman civilization In the book of St. Nicophoric Antirrhetic in the early 9th century AD he pointed out that mythical beings are imaginary and pure illusion In the 10th century AD in the book The Life of Basil I was referred to the centaur with contempt and decided that the composite forms and Greek and Roman myths are in general symbols of evil and that this is what interests him As for the poets, they can mention them in their poems as they wish, and in the life of St. Andrew the fool was standing one day staring at Santo and its superstitious beings and giants, so a passerby slapped him on the nape, and told him that he was a fool, the saint father decided that this passerby is a crooked foolish spirit and that these forms for him are symbols of evil, and despite that superstitious forms have been dealt with in abundance in the art of daily life as models of evil, as in an ivory box It is preserved in the Dumbarton Oaks Museum in Washington with decorations of animals and fairy creatures, including a serene with a human head and a falcon-like flying body that comes out from behind the human head an animal head.

Maybe a sheep or a dog, and we notice here the features of the face full of cheeks, the snub nose, the relatively long tail of the bird, and short legs, perhaps the bird is a falcon or a bird of prey as shown in Figure 13(a) (‎Maguire, 1999: pp. 192-194) .

Figure 13(a) depicts an ivory box has a lid with a carving of warriors, one with a shield and a sword and the other is a marksman, and in the side part of the cover is a tape depicted by a man without a beard and a woman in medals, and in the middle of them is a depiction of an emperor inside a medallion and on the body of the box from the front is a depiction of warriors with a depiction of a horse, and in the back is a depiction of three hunters, one of them with a bear and a tape of flower decoration, and the front and back panels are made of elephant ivory, while the side panels are of bone as shown in Figure 13(a) and depicted by sernat with the head of a man with curly hair and a long neck and

the body of a bird of prey was surrounded by opposite sernat tape of plant and fruits of grapes and behind each sern a leaf height of 19.3 cm and length of 26 cm and width of 19.5 cm and the box is preserved in the Victoria and Albert Museum under the number 1927 - ADB and dated to the 11th century - 12AD (Williamson, 2014: pp. 95-99) .

As in Figure 14 on a ceramic dish from Corinthia and preserved in a museum in the Archaeological Museum of Kunthe under No. 2.31.5 dimensions 7.1 cm height 20.8 cm and diameter 20.8 depicted on it Cyrne mostly male with curly hair and look back with sharp features and the body of an aquatic bird with long legs and catches a waterbird, which in turn catches a fish and the scene in its entirety represents dominance and power Valsern controls the bird and the bird controls the fish²².

Figure 15 depicts a ceramic incense burner preserved in the Museum of Byzantine Art in Athens under the number 1676 t 125, Bm dating back to the 12th century was found in Corinthian depicted with a serne with a male face with short hair and the face looking back and the body of the bird with relatively short legs standing on a plant branch and surmounted by a curl decoration²³.

Perhaps the seren appeared in the areas surrounding the Byzantine Empire, which fell under the influence of Byzantine culture and the religious spiritual thought of Orthodoxy, including Kiev and Trey in a golden earring inlaid with enamel dimensions 6.4 × 5.4 cm belonging to Kiev and preserved in the Metropolitan Museum in New York on one side of the throat Photograph of two circular serents looking in front of the face with a halo of light in the middle of them the ball of life and on the other side a depiction of two birds facing each other with similar plants as shown in Figure 16. From the Seren saints anchor the tree of life here the Seren in a decorative and spiritual context.²⁴

It appears from the above that the sernet is linked to art in the context of daily life, especially in expensive goods for women such as ivory boxes, but it is remarkable that the illustrated serenne has a masculine face.

The Copts viewed the pagan inheritance as a way to express their religion in a hidden way in the early ages of Christianity before Christianity was recognized as a religion of the Roman Empire, so the sign of the gankh was used as a cross and the fish symbolized Christ and the god Aphrodite symbolized purity because it was born from a shell in the sea, and Daphne symbolized victory over evil, and with the progress of time and in the era of Emperor Theodisius I, persecution of paganism appeared, and one of its most important manifestations was according to Ruvinius in his History of the Church (402-403 AD). What Theophilus did after finding a pagan altar beneath a Christian church was to display his tools (Davis, 2017) .

Holy in a procession in the streets of Alexandria as a kind of humiliation for the pagans, which provoked their anger and prompted them to confrontations with Christians, and for their small number compared to the Christians, they took refuge in the temple of the Ciprabium, and as a result Emperor Theodinsos issued an order to pardon the pagans and considered the Christians who were killed in that conflict as martyrs, and later Theophilus instigated the Christians and invited the Egyptian monks to Alexandria, who were his effective tool in the demolition of the Serapeum, and he inaugurated the church of Mahalla and the assembly of this monastic and established a church in the Canopus area (Abu Qir current) near the destination of a pagan pilgrimage and persuaded the monks to establish a monastic gathering there, and this indicates in its entirety his religious and political policy to try to liquidate paganism and end its existence by establishing Christian places of worship on the ruins of pagan temples, but the manifestations of paganism in art, especially in the minor arts, continued to use pagan artistic elements from Greek and Roman legends, especially in textiles and minor arts in general, where the serenas appeared as in Figure 17.

Harpy was a creature with a female face, a vulture body, and nails. He depicts violent fighting and death (Nouri & Hashem, 2018) . The Harpy motif, which depicts the lady bird in the shape of a male person, may be seen on pairs of lusterware ceramics from the Fatimid Period in Egypt. As a result, the Harpy is a composite figure with human heads and bird-like bodies that has completely changed in meaning after the arrival of Christianity in Egypt, when it went from being a religious to a decorative figure (Nouri & Hashem, 2018) . ‎

Additionally, the Harpy theme emerged across the Islamic world, from Samarqand in the east to Cordoba in the west (Elhelw, 2020) . During the Fatimid period, it was displayed as lustrous decoration on bowls in Egypt and Syria, primarily illustrating royal themes and the joyous life of the court. A bowl with a human head was discovered in Tell Minis in Egypt, the site of the invention of the mina’i method, as an illustration of this (Elhelw, 2020) . Although this method was the most uncommon of the Fatimid dynasty in Egypt and Syria in the eleventh and twelfth centuries, its brilliant impact and exceptional imagery make it one of the greatest in ceramics history (Invaluable, 2010) . ‎

In a two-dimensional picture, Figure 18 is depicted as a bird with a man’s head wearing a turban, almond-shaped eyes, broad brows, a pointed nose, thin lips, and a wide jawline. The body of the figure appears to be covered in details like Fatimid textiles that were distinguished by beautiful inscriptions, in contrast to prior portrayals of human-headed birds that were featured in feathery bodies and are wearing necklaces. The entire depiction demonstrates the wealth of the Fatimid era (Elhelw, 2020‎) .

The following wooden board in Figure 19 decorated the Fatimid western palace in the hall of Set Al-Mulk, his son Al-Aziz Billah Al-Fatimid and the sister of the Fatimid Al-Hakim bi-Amr Allah, who lived between 985 AD to 1021 AD, and this board contains many forms of Baa or Harby with other composite objects, which reflects the skill of the artist in the Fatimid era.

Reused in the decorations of the monumental architectural ensemble constructed by the ‎Mamluk Sultan Al-Mansur Qalawun in Al-Muizz Street in the year 684 AH/1285 AD.

Another example could be found in Figure 20 depicting the Victoria and Albert Museum of a courtyard from the Fatimid era depicts the object of war clearly surrounded by floral motifs and the abdominal area decorated with Arabic semi-letters in the Kufic script characteristic of this stage, which is not any Arabic word, but only its purpose is decoration.

The majority of the animal painted vessels in the aforementioned museums exhibit bird themes, which are typically shown as duck, peacock, duckling, pigeon, eagle, crane, parrots, and roosters (Ghasemi & Ghasemi, 2020) .

In addition, the epithet Saladin upon conquering Egypt and Syria, aimed to change the official Islamic cult throughout the country from Shia to Sunni, which was accompanied by the introduction of the Sufiism. The Sufists, however, considered all compound figures (combining two or elements, such as Harpy) as forbidden by sharia or haram. Based on that, we find diminishing examples of Harpy and all compound figures throughout the Islamic world at that period, as they treated each element as separate from another, and allowed no merge or conflation between plant, animal, and human figures (Abdel Rahim, 2000) . This explains why we find rare instances of Harpy in Ayybuid era, followed by the Mamluk era in which Harpy figures almost disappeared.

Pope also discusses how these animals look aboard ships: Harpies were drastically included into the pottery as soon as they had the necessary technique, whereas the phoenix or harpy is seen as a typical theme in the Islamic art of the twelfth and thirteenth century (Ghasemi & Ghasemi, 2020‎) .

He also described the role of this motif in the vessels like shown in Figure 21 as follows: “In these vessels, there is a large figure painted on a simple background surrounded by motifs of flowers and bushes”. In most cases, the edges of the vessels have a strip of Kufic script (common decorations in vessels painted on Raqqa liner glaze). Apart from the difference in technique, these vessels are very similar to the enamel dishes painted on Iranian glaze in terms of the iconography. The species that was first recorded in the 1180s, shows that Syrian potters were inspired by Persian pottery of that period (Khalili & Group, 2005: p. 229) . This motif’s link to magical ideas is another point of connection. Irwin claimed that although painters, potters, and metalworkers employed the harpy motif, it was unclear whether they did it for amusement or because they had an interest in odd and fantastical artefacts. But the idea of a harpy also conjures up joy (Ghasemi & Ghasemi, 2020‎) .

According the question about the use of Harpy’s figure in the context of Tree of Life on pottery and metallic containers in fifth to eighth century A.H (eleventh to fourteenth century A.D), this hypnosis can be proved that Harpy’s figure in Islamic period is used not only as a decorative pattern but also as a way of expansion of Islamic Sufism and development of Sufism theories in this period; ancient concepts were effective factors in the presence of these symbols on works of art. It seems that the application of Harpy’s figure or “Human-Bird image” is associated with Sufism concepts related to freedom of soul from body as its prison, flying to human’s real place and reaching to the perfect human being degree, but the personification in the forms of Harpy was considered Haram or unlawful by the Sufists; therefore, no Harpy-containing figures are found in the Mamluk era. It is crucial to note that the Harpy in Egypt and Syria has completely disappeared and was ended by the time of the Mamluk era, as Mamluks considered it to be Haram.

As Harpies were prevalent in Roman and Byzantine art, and they first appeared in Andalusia across the Byzantine churches as a form of art, the Harpies were introduced to the Western Islamic world through Egypt through the Roman occupation at the time. In Andalusia’s Islamic civilisation, harpies also made their appearance (Barrucand & Bednorz, 2007‎) . Harpies add the tail of a snake or scorpion to the feminine face and the bird body of mermaids, as shown in Figure 22(b) and Figure 22(c), despite the fact that they are often connected with bird-mermaids due to their function in winged emblems. Harpies are sometimes seen in pairs, with their bodies connected and their heads twisted in a menacing manner. It is a threatening or aggressive stance that may be influenced by an improved adaption to the support as well as the oriental impact on the compositions organized around an axis of symmetry. In addition, they ‎can be presented headdresses with a Phrygian cap (Barrucand & Bednorz, 2007‎) .

The harpies are usually shown in the colossal sculpture found in the capitals, corbels, and other architectural features of Romanesque buildings, as shown in Figure 22(a). The harpies that emerged in the plasterwork of the vaults of the San Fernando cloister of the Royal Monastery of Las Huelgas de Burgos are just one of the later instances we have like shown in Figure 22(a). Additionally, it has been feasible to identify its presence in ceramic and eboraic artefacts, texts, and engravings. Later illustrations combine the harpies’ and the bird-representations. mermaid’s In Formo’s fortress, which was constructed in Balaguer (1040-1045) during the Spanish Islamic Middle Ages, as shown in Figure 22(d), harpies may also be seen (Barrucand & Bednorz, 2007‎) .

In the Eastern side of the Islamic world, Harby appeared clearly in the arts of the Seljuk empire, but they did not only draw it on dishes or carve it on wood, but they made its own statues, such as the ancient Greek civilization, and transferred it to Turkey directly during the ancient Greek occupation. For example, these figures with harpies were generated out of the existing figural repertoire as in Figure 23, especially from those, which are regarded as powerful or virtuous such as Figure 24. The most common mythical creatures in the Seljuk empire were the simurgs and harpies as in Figure 25. Figure 26 also shown that harpies existed in potteries such as ‎ceramic of a blue and ‎white ‎glazed, or in pottery alabastron decorated with harpies such as Figure 27.

The Ottoman Empire (1299 AD until 1922 AD) was distinguished by the Iznik Ceramics, in which harpies were continued to manifest themselves as a prominent artistic representation. Harpies manifested in the Ottoman arts in Iznik, perhaps because it was a common art in the Seljuk state and the subsequent Mongol occupation of the region, so it remained present until the middle of the Ottoman Empire, although it seems completely cut off from the original impregnable Egypt, so no traces of it were found in the Mamluk state (Gökçe, 2018) .

Iznik has always been an important centre of ceramic art creation. Iznik gained notoriety when the Ottoman Empire was established in the 15th and 16th centuries as a result of the expansion of the ceramic industry (Gökçe, 2018) . Iznik ceramics are a magnificent technological accomplishment in Turkish ceramic art history. The finest examples of Ottoman ceramic art were the Iznik vessels and tiles, which combined Ottoman design elements with those from China, Asia, the Balkans, and even Europe. The palace’s support for Iznik’s pioneering pottery industry encouraged and nurtured its expansion. This study describes the peculiar Iznik ceramic production and decorative features that may be found in various literary sources (Gökçe, 2018) . ‎

Additionally, harpies were frequently found in Iznik pottery and ceramics like in Figure 28 and Figure 29. Some of the last remnants of Harpy have been discovered in Iznik, under the Ottoman era in dishes such as Figure 30. Some of them, including the following images, may be seen at the British Museum.

The emergence of Al-Harbi continued significantly until the Renaissance, particularly through the Iznik as the gateway of this forms of art, and perhaps the reason for its creation to this period is its expression of different concepts such as expressing evil and good at the same time, or perhaps for its beauty as a decoration or ease of painting as it appeared in some paintings, or perhaps for other reasons that we do not know were in the reason for its spread until the Renaissance, and these are examples of its appearance in the Renaissance in different countries. The trade in ceramic manufacturing between Italy in Europe and the Islamic world, as represented by Iznik in Turkey, flourished and gained shape with the appearance of a distinctive style of ceramic plates with Italian tradition in Iznik (Zidan, 2019) . Around 1500-1530 A.D., Tondino dishes, a sort of ceramic plate, were popular in Italy. Similar examples were also manufactured in the modern era by Iznik workshops (Zidan, 2019) . Therefore, examples of harpy started to become less pronounced such as in Figure 31 and Figure 32, or very pronounced but rarely present such as Figure 33, and Figure 34. Only in the museum of Rome, one sees the remaining figures containing harpies such as Figure 35 and Figure 36.

Iznik pottery was influenced by Chinese porcelain in the first half of the 16th century A.D. in terms of colours (blue and white), Italian maiolica in terms of forms (such as “tondino” plates), and harpies as well. Additionally, although they were not utilised in figurative settings, Italian figural portraits were included into the creation of Iznik ceramics, featuring complex forms like Harpies. We find over-glazed and under-glazed figures of Harpy common in the renaissance era. Below are some examples of Harpies found during renaissance.