The repetition of an element in any culture, in addition to patterning, can be considered as an identity verifier of ? and also a conveyor of meaning, that the perception of it by the audienc would confer an aesthetic interpretation of cultural preferences. By this definition, the repetition of the urban element of pot and the framing of natural elements of water and tree in the public space of Moroccan cities seems to be one of the hallmarks of the country’s cultural heritage. Moreover, the attitude of trustees, whether in forms of the government institutions or in position of a citizen, implies the preferences that let the pot to be transferred from urban furniture into the field of public and urban art. This article seeks to respond to the ecology of pot, which means discovering the origin of its footprint in the art of the Romans, and it is assumed that the obvious presence of this element should probably be rooted in the pots of "tree of life" and" spring of life" in Romanian culture. These elementsare still visible in the form of a vase, pond and drinking fountain in the territories of the Roman Empire. By accepting that the pot as a frame and margin is set to decorate a text, ?the article in response to the pot semiotics in Roman culture and consequently in modern Moroccan culture concludes, that in spite of the presence of natural elements of water and trees in pot, a naturalistic approach does not dominate it. It seems that in sense of decorating, the pot has gone beyond the text- here means natural elements- to the extent that has even been replaced it. Such an approach can also be associated with a kind of decorative theme. This article is of an exploratory nature and is based on field observations. Selection of case studies is based on finding the repeating element that wasup taken from the evidences and analysis of eight cities and townships have been observed in Morocco as a statistical community sample.
)