The beginning of Islam banned the use of metal utensils, although the production of pottery was widely welcomed throughout the Islamic land. In the eastern lands of Islam, especially in the geographical region of Greater Khorasan (Samarkand and Neishabour), this transformation reached its peak at the same time with the beginning of the Iranian movements and the establishment of the Taherian and Samanid dynasties. One of the most important achievements of the Samanid period in the art of pottery is the invention of clay glaze with various decorative patterns, and artists, while being influenced by Sassanid motifs, were also influenced by the technical methods of Abbasid pottery and imported Chinese pottery. This study includes the study of glazed works in Neishabour and Samarkand regions. The research method is historical and descriptive-analytical and with a comparative approach has studied the patterns and glazes of pottery in these two regions. Objectives such as identifying and comparing the characteristics of pottery in Samarkand and Neishabour and the effectiveness of pottery in these cities based on political background, pursues cultural and economic. The results show that there are many similarities in the Kufic inscriptions of the two regions, but the color of the glazes and the use of common expressions in each region make the difference between these works. Researchers such as Wilkinson, based on the similarities between the works, consider the method of Neishabour pottery to be influenced by Samarkand; while historical evidence shows the opposite of this theory. Also, the existence of distinctive features in the works of Samarkand region, such as the use of the role of the moon and the dragon, despite being influenced by Neishabour, give a native character to the pottery works of Samarkand.