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Applied artworks of the Islamic era of Iran are generally presented in art history books with their features, main functions and, ultimately, their backgrounds. These works are also very general in dictionaries, with their main features and uses described. While treating the enormous treasure of Persian literature, the various features of the dishes can be identified and their aesthetic status found among their audience (users), and the information gained to breathe the spirit of life into the museum's silent works. Because Persian literature is full of descriptions of things that are obscene in today's world, and without knowing their true characteristics one cannot attain or even understand the poetic fantasies about them. In this paper, the method of the reconstruction of the horizon of expectation was used to overcome these defects. To explain this method, the horizon of expectation in Hans Robert Jauss's theory it has to be said, the criterion that audiences use to judge, evaluate, and interpret literary works of an age; and we can reconstruct it in three steps. It should be noted that the reconstruction of the horizon of expectation has been used for the study of few artworks. One of that is reconstruction of the horizon of expectation Roman sculptures. To collect information to reconstruct horizon of expectation, available studies of sculptures through lens of formalists and the social, cultural and religious conditions of that era were used. This study suffered from major limitations some limitation were: a) the failure to consider the social status of audiences, b) the inefficiency of the method in studying some unique objects, and c) the lack of a real distinction between the viewpoint of modern audiences and audiences from the past. Therefore without documentary evidence from the audience, one can only expect conjectures of people's expectations of the artwork of any age. It is assumed now that this article can reconstruct the expectation of people of any age for artworks based on literary texts. In this study, the horizon of expectation Tass was reconstructed as one of the most widely applied artworks in the Islamic period of Iran, as well as one of the most widely accepted applied artwork in Persian literature. The result of this reconstruction shows that it has benefited from this dish because of its deep form, as well as its use for some kind of jugglery to create imaginative metaphors and similes. To the extent that, using the topics of the chain of perception and the social function of literature in the Jauss's theory, the evolution of the perceptions to their expression on the horizon of the audience's understanding was addressed. Because, in accordance with Jauss’ chain of reception (development of works during successive receptions) and the social function of literature (the entry of literary works into the field of understanding of the audience of society), The series of Tasses receipts have appeared on the Tasses of the Safavid era after entering the horizon of public understanding of the community and everyone's agreement on these meanings. According to these meanings, they appeared on the Tasses of the Safavid era. It should be noted, however, that this research achievement is not limited to the case study of Tass; because on many of Iranian Applied artworks considered poems from the reception of the object itself. The result of this research shows that, based on literary texts, we can obtain extensive, diverse and documented information from the audience's horizon expectation of applied artworks of the Islamic era. Also, since the most detailed expectations of everyday audience of applied artwork have been the basis of many metaphors and Similes in Persian literature, this approach can provide a more complete understanding of past literary texts.
 

Keywords: Persian literary texts, applied art works of Islamic era of Iran, reconstruction of horizons of expectation, Hans Robert Jauss, Tass

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