Islamic pottery occupied a geographical position between Chinese ceramics, and the pottery of the Byzantine Empire and Europe. For most of the period, it made great aesthetic achievements and influence as well, influencing Byzantium and Europe. The use of drinking and eating vessels in gold and silver, the ideal in ancient Rome and Persia as well as medieval Christian societies, is prohibited by the Hadiths, with the result that pottery and glass were used for tableware by Muslim elites, as pottery (but less often glass) also was in China but was much rarer in Europe and Byzantium. In the same way, Islamic restrictions greatly discouraged figurative wall painting, encouraging the architectural use of schemes of decorative and often geometrically patterned titles, which are the most distinctive and original speciality of Islamic ceramics.

The era of Islamic pottery started around 622. From 633, Muslim armies moved rapidly towards Persia, Byzantium, Mesopotamia, Anatolia, Egypt and later al-Andalus. The early history of Islamic pottery remains somewhat obscure and speculative as little evidence has survived. Apart from tiles that escaped destruction due to their use in architectural decoration of buildings and mosques, much early medieval pottery vanished.

The Muslim world inherited significant pottery industries in Mesopotamia, Persia, Egypt, North Africa (African Red Slip) and later other regions. Indeed, the origin of glazed pottery has been traced to Egypt where it was first introduced during the fourth millennium BCE. However, most of these traditions made heavy use of figurative decoration, which was greatly reduced, though not entirely removed, under Islam. Instead Islamic pottery developed geometric and plant-based decoration to a very high level and made more use of decorative schemes made up of many tiles than any previous culture.

A distinct Muslim style in pottery was not firmly established until the 9th century in Iraq (formerly Mesopotamia), Syria and Persia. During this period pieces mainly used white tin-glaze. Information on earlier periods is very limited. This is largely due to the lack of surviving specimens in good condition which also limits the interest in the study of ceramics of these periods. Archaeological excavations carried out in Jordan uncovered only a few examples from the Umayyad period, mostly unglazed vessels from Khirbat Al-Mafjar in Palestine. In the East, evidence shows that a production centre was set up in Samarkand under the Samanid dynasty who ruled this region and parts of Persia between 874 and 999 A.D. The most highly regarded technique of this centre is the use of calligraphy in the decoration of vessels. East Persian pottery from the 9th to 11th centuries decorated only with highly stylised inscriptions, called "epigraphic ware", has been described as "probably the most refined and sensitive of all Persian pottery".

During the Abbasid dynasty pottery production gained momentum, largely using tin glazes mostly in the form of opaque white glaze. Some historians, such as Arthur Lane, attribute the rise of such industry to Chinese influence. Evidence from Muslim manuscripts, such as Akhbar al-Sin wa al-Hind (circa 851) and Ibn Kurdadhbih's Book of Roads and Provinces (846-885), suggest that trade with China was firmly established. Lane also referred to the passage in a work written by Muhammad ibn al-Husayn al-Baihaki, (circa 1059) where he stated that the governor of Khurasan, ‘Ali ibn ‘Isa, sent as a present to the Caliph Harun al-Rashid (786-809), “twenty pieces of Chinese Imperial porcelain (Chini faghfuri), the like of which had never been seen at a Caliph’s court before, in addition to 2,000 other pieces of porcelain”.

According to Lane, the influence of Chinese pottery progressed in three main phases. The first contact with China took place in 751 when the Arabs defeated the Chinese at the Battle of Talas. It has been argued that imprisoned Chinese potters and paper makers could have taught the Muslims the art of pottery and paper-making. In the 800s Chinese stoneware and porcelain reached the Abbasids. The second phase took place in the twelfth and thirteenth centuries, a period noted for the decline of pottery industry following the fall of the Seljuk dynasty. This period also saw the invasion of the Mongols who brought Chinese pottery traditions.

The influence of ceramics from the Tang dynasty can be seen on lustrewares, produced by Mesopotamian potters, and on some early white wares excavated at Samarra (in modern-day Iraq). Ceramics from this period were excavated at Nishapur (in modern-day Iran) and Samarkand (in modern-day Uzbekistan).

By the time of the Mongol invasion of China a considerable export trade westwards to the Islamic world was established, and Islamic attempts to imitate Chinese porcelain in their own fritware bodies had begun in the 12th century. These were less successful than those of Korean pottery, but eventually were able to provide attractive local competition to Chinese imports. Chinese production could adapt to the preferences of foreign markets; larger celadon dishes than the Chinese market wanted were favoured for serving princely banquets in the Middle East. Celadon wares were believed there to have the ability to detect poison, by sweating or breaking.