معرفي و مطالعه‌ي سفال «آبي و سفيد» با نقش چهارباغ در مجموعه‌ي ارگ بم

Presenting and Studying the “Blue and White” Pot with Chaharbagh Design of Arg-e Bam Complex

سفال يكي از فراوان‌ترين و مهم‌ترين توليدات صنعتي به‌شمار مي‌رود كه انسان توانسته عرضه نمايد. غير از برآوردن نيازهاي مادي، گاه ‌در جايگاه رسانه‌اي تصويري، انديشه‌ي وي را نيز تبليغ و اعلان نموده است. يكي از موضوعات هميشه‌پذيرفته‌ي پيرامون انسان به‌ويژه در آسيا، توجه به رُخ‌دادها و پديده‌هاي طبيعي و به‌طور ويژه فضاي سبز پيرامون است. علت اين امر، بي‌ترديد طبيعت تنگ‌دستي است كه شرايط اقليمي پيچيده‌اي براي حيات وي ايجاد كرده است؛ بنابراين كوتاه بودن فصل گُل و سبزه، باغ‌سازي و باݣݣغ‌پردازي را به دستينه‌اي آرماني تبديل كرد. يكي از مهم‌ترين شيوه‌هاي باغ‌پردازي ايراني گونه‌ي «چهارباغ» است كه در كتاب‌آرايي و قاليبافي نمونه‌هاي متعددي از آن شناسايي و مطالعه شده است. اين آرايه در هنرهاي كاربردي و به‌طور ويژه اشياء سفالي به‌رغم استفاده‌ي پُردامنه، تنها در دوره‌ي پيش‌ازتاريخ و تاريخي، نمونه‌هايي از آن با اشاره‌اي كوتاه، معرفي شده است. برپايه‌ي همين ضرورت، پژوهش‌ حاضر تلاش كرده تا اين نقش را در پاره‌اي از يافته‌هاي سفالين «آبي و سفيد» ارگ بم در دوره‌ي صفويه كه گونه‌ي چهارباغ وجه غير جايگزين در طراحي معماري منظر است، بررسي و مطالعه نمايد. سؤال اصلي بر اين موضوع تأكيد دارد كه آرايه‌ي سفالينه‌ها چه ارتباطي با نوع باغ‌پردازي دوره‌ي صفويه دارد. روش تحقيق در اين پژوهش، تاريخي، توصيفي-تحليلي است. گردآوري يافته‌ها به دو شيوه‌ي اسنادي و ميداني صورت‌گرفته است. آن‌چه اين تحقيق بدان دست‌يافته، گواهي مي‌دهد كه هنرمند سفالگر غير از نشان دادن چهارباغ و اجزاي آن، گاه به‌شيوه‌اي استادانه كوشك مياني آن‌را به‌صورت يك نه‌بخش كه در ادبيات معماري به «هشت‌بهشت» معروف شده، نمايش دهد؛ بنابراين به‌نظر مي‌رسد همان‌طوركه استفاده از اين نقش در دسته‌اي از قالي‌هاي دوره‌ي صفويه، نام «قالي چهارباغ» را براي آن مرسوم ساخت، مي‌توان اين‌گونه از سفال را به‌عنوان «آبي و سفيد چهارباغي» در گونه‌شناسي سفال دوره‌ي اسلامي معرفي كرد.

Pottery is considered as the most abundant and important industrial productions of human rather than meeting material needs, sometimes played the role a media. One of the issues often accepted about the human, specially in Asia, is to consider the natural events and phenomena and especially green space surrounding the human, because of poor nature which has created complex climatic conditions to his life. Therefore, the short green season and creatinggardens is changed into a desired mean and continuously a supreme place is considered. Asian human settlement tried to claim the importance of this mean in biologic structure in various forms. It become public on pottery, a good role creating architectural works, gave a good place to book arraning and become public role of carpet weavers and poetic works such as Boostan and Golestan was given; and finally it changed into the form of musical works such as “Chaharbagh”, “Bagh-e Ardeshir” and etc. one of the most important methods of Iranian garden arrangments is “Chaharbagh” various samples of which is identified. This theme is presented in applied arts and pottery objects in prehistoric and historical periods. Based on this necessity, the present research has tried to study this. Design in some of “Blue and White” post of Arg-e Bam is Safavid period which Chaharbagh type is an alternative in architecture design. The main question focuses on this subject that what relation is there between pot themes and garden arranging. The research method is analytical descriptive. Findings are collected by field and document method.the findings of this research show that apart from presenting Chaharbagh, the potter artist sometimes exhibit middle palace as nine part that is famous as “HashtBehesht” in architectural literature. This part of pot themes recalls us the samples of Isfahan “Hasht Behesht”, Behshahr “BaghCheshmeh”, Kashan “Bagh-e Fin”, “Chehelsotun” in Ghazvin and Arg-e Bam building in Arg- e Bam. In spite of main limitations such as exploiting only blue and whitecolors that is necessary in pottery technique, our findings are comparable to carpet designs in Chaharbagh and themes of some pictured books the pottery artist tried to offer a design of ChaharBagh and its parts. The presence of four gardens each of which is shown in a quarter of square and is integrated with flower or leaf of flower and water canals depicted by right lines present the level of pottery identification from Iranian garden arranging. The central role in some sample offers the pattern and design of construction in spite of other artistic themes that show gardens in three-dimension face. This nine-part pattern was presented in Iranian architecture establishing Apadana in Achaemenian. After it in Sassanid period and first centuries of Islamic period in the form of “Nohgonbad” (nine domes) of central palace in some Chaharbagh and some religious buildings were presented. In the late centuries of Islamic period and specially Safavid period, it continued its life with eight face design and the same nine part divisions. It seems that as using Chaharbagh role in some Safavid carpets became Chaharbagh carpet famous, we can present this kind of pot as Chaharbagh blue and white in identifying Islamic pots.