مطالعه باستان شناسی روش تزئین سفالی نقش کنده در گلابه شمال غرب ایران (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
در دوره اسلامی انواع مختلفی از روش های تزئینی سفالگری مورداستفاده قرارگرفته و در کارگاه های سفالگری مناطق مختلف ایران، شیوه های متنوعی از روش های تزئین، ابداع شده است. یکی از روش هایی که نقش بسیار اساسی در رشد فنّاوری سفالگری اسلامی ایفا کرده شیوه «نقش کنده در گلابه» (اسگرافیتو) است. این روش هم زمان با سده های سوم و چهارم هجری، آغاز و طی مراحل تکوین خود در سده های پنجم تا هفتم هجری به اوج خود رسید. این شیوه در اوایل دوره اسلامی روی سفال های بدون لعاب و سپس از اواخر سده سوم هجری هم زمان با شروع روش لعاب پاشیده به عنوان یکی از مهم ترین شیوه های تزئینی مورداستفاده قرار گرفت. این نوع روش در ایران به سه نوع گروس، آق کند و آمل تقسیم می شوند. هدف پژوهش حاضر مطالعه شمال غرب ایران، به عنوان خاستگاه اصلی این نوع سفال به دلیل کشف گروه قابل توجهی از این نوع سفالینه ها هم زمان با سده های سوم تا هفتم هجری در شمال غرب ایران است. در این پژوهش سعی شده به این دو سؤال اساسی پاسخ داده شود: 1. سفال اسگرافیتو در شمال غرب ایران در کدام مراکز تولیدشده اند؟ 2. سفال های اسگرافیتو شمال غرب ایران دارای چه ویژگی هایی بوده اند؟ این مقاله با روش توصیفی- تحلیلی انجام شده و شیوه جمع آوری اطلاعات میدانی و کتابخانه ای است. نتایج این مطالعه نشان داد سفال اسگرافیتو در شمال غربی ایران، در مناطق مختلفی ازجمله شهر فعلی تبریز، محوطه های شهرستان چاراویماق (آغچه ریش، قره آغاج، شهر دل، عزیز کندی و غیره)، آق کند، شیخ تپه ارومیه ، منطقه گروس، تخت سلیمان، شهر فعلی زنجان، سلطانیه و برخی شهرهای استان اردبیل تولیدشده است. همچنین مشخص شد دو نوع سفال گروس و آق کند از سبک های رایج این منطقه در تولید سفال نوع اسگرافیتو بوده که در آن ها، بیشتر از نقشمایه های هندسی، گیاهی و حیوانی استفاده شده و از نقشمایه های کتیبه ای و انسانی کمتر استفاده شده است.Archeological Study of Pottery Incised in Slip Decoration Technique, Northwest of Iran
In the Islamic period, different types of pottery techniques are used and developed in workshops in different regions. One of the techniques that has played a very important role in Islamic pottery technology is the "carved in rose" technique. This technique begins at the same time as the third and the fourth centuries AH and reaches its peak during the stages of its development in the sixth and the seventh centuries AH. This technique was introduced on unglazed pottery in the early Islamic period and then in the late third century AH with the beginning of the glazed technique with geometric and Islamic designs and from the fourth century onwards it was decorated with human and animal motifs. The discovery of a significant group of this type of pottery in northwestern Iran, suggests that northwestern Iran can be studied as one of the centers of production of this type of technique. Accordingly, in this article, an attempt has been made to study the technique of making and decorating this type of pottery in northwestern Iran using library studies and a descriptive-analytical method. In this research, an attempt has been made to answer these two basic questions: 1. In which centers have sgraffito pottery been produced in northwestern Iran? 2. In the northwest of Iran, what techniques and motifs have been used to decorate this type of pottery? Based on this study, it was found that graphic pottery was produced in northwestern Iran, in different regions such as Tabriz, Aghkand, Urmia, Garous, Zanjan and Soltanieh. It was also found that among the motifs, geometric, plant, and animal motifs were used more while inscriptional and human motifs were used less often.Pottery has always represented the culture, beliefs and art of each region throughout history. Studies on the motifs of sgraffito utensils in northwestern Iran show that in addition to the decorative aspect, these motifs also had a symbolic aspect. Each of these symbols reflects the understanding and belief of the people of the area at the time of the formation of these potteries. The method of working in sgraffito pottery is such that first the body of the dishes is designed with predetermined designs and then they start carving and decorating. As a result, sgraffito dishes are dishes on which different designs are created by scratching the rose on them. Sgraffito pottery is one of the most common glazed pottery of the Islamic era, and also with the discovery of a significant group of this pottery in northwestern Iran, including the cities of Aghkand, Urmia, Garous, Zanjan and Soltanieh, this assumption comes to mind that northwest of Iran is the center of production of this type of technique. The purpose of this study is to study the technique of engraving in rose water in different regions of the northwest to know the technique of making and decorating it. One of the main problems in this research is the lack of sufficient information about this pottery. The reason for this is the lack of archaeological excavations in Islamic sites in northwestern Iran. In the meantime, the areas where archeological excavations have been carried out are not accessible due to the non-publication of excavation results. Therefore, in this study, the areas whose information was available have been paid more attention to. One of the most important ancient data in all historical traditions is pottery. The study of pottery can provide us with important information about the origin of their beginnings and the development of communication as well as cultural exchanges during the period of pottery. Pottery is one of the most important man-made objects during the historical period that reaches its peak in the Islamic period. Common pottery in the Islamic era is engraved or sgraffito pottery. Although scholars believe that the technique of this pottery originated in Egypt in the first century AH, for the first time this pottery was obtained from Samarra. Examples of sgraffito pottery found in Bibin Mesopotamia have also been influenced by the art of pottery in the Tong Chinese period. In Iran, samples of sgraffito pottery from the late third and the early fourth century AH in the areas of Siraf, Neishabour, Susa, Takht-e Soleiman, Amal, Zanjan, Soghand, Garous, Aghkand and Alamut have been obtained. Sgraffito pottery is divided into several areas according to construction and decoration techniques and colors; first, the geographical area of northern Iran, including the areas of Amal, Alamut, and Jorjan. Northwest and West: Aghkand, Soltanieh, Sheikh Tappeh of Urmia, Hamedan, Kangavar, Bostan Arch and Takht-e Soleiman. Northeast: Neishabour, Toos, Samarkand. East and southeast: Sirjan, Lashkari Bazaar and Jiroft.
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