كليدواژه :
ﺳﻔﺎل ﻧﯿﺸﺎﺑﻮر , ﻧﻤﺎدﻫﺎي ﻋﺪدي , ﻧﻤﺎدﻫﺎي ﻫﻨﺪﺳﯽ , ﻧﻘﻮش ﺟﺎﻧﻮري , اﺳﻤﺎﻋﯿﻠﯿﻪ , اﺧﻮان اﻟﺼﻔﺎ
چكيده فارسي :
در دوران ﺣﮑﻤﺮاﻧﯽ ﺳﺎﻣﺎﻧﯿﺎن ﺑﺮ ﺧﺮاﺳﺎن، ﭼﻮﻧﺎن ﺳﯿﺎﺳﺖ ﻧﺮﻣﺶ و ﺗﺴﺎﻣﺤﯽ ﺑﺮﻗﺮار ﺑﻮد ﮐﻪ ﻓﻀﺎي آزاد اﻧﺪﯾﺸﻪ و ﻇﻬﻮر ﻓﺮﻗﻪ ﻫﺎ و ﻧﺤﻠﻪ ﻫﺎي ﮔﻮﻧﺎﮔﻮن دﯾﻨﯽ و ﻓﮑﺮي را ﻣﻮﺟﺐ ﺷﺪ. از ﺟﻤﻠﻪ ادﯾﺎن ﻏﺎﻟﺐ در ﺧﺮاﺳﺎن و ﻧﯿﺸﺎﺑﻮر، اﺳﻤﺎﻋﯿﻠﯿﻪ، ﻓﺮﻗﻪ اي از ﺗﺸﯿﻊ ﺑﻮد ﮐﻪ در آن، رﮔﻪ ﻫﺎﯾﯽ از ادﯾﺎن زرﺗﺸﺘﯽ و ﻣﺎﻧﻮي وﺟﻮد داﺷﺖ و ﻧﺴﺒﺖ ﺑﻪ ﺳﺎﯾﺮ ادﯾﺎن اﯾﻦ دوره ﺗﺄﺛﯿﺮ ﻣﻠﻤﻮس ﺗﺮي ﺑﺮ آﺛﺎر ﻫﻨﺮي اﯾﻦ ﻗﺮن ﮔﺬاﺷﺘﻪ اﺳﺖ. ﻟﺬا ﭘﺲ از واﮐﺎوي و رﻣﺰﮔﺸﺎﯾﯽ ﻧﻘﻮش ﻇﺮوف ﺳﻔﺎﻟﯿﻦِ ﻧﺨﻮدي در ﻧﯿﺸﺎﺑﻮرِ ﻗﺮن ﭼﻬﺎرم ﻫ.ق، ﺗﻄﺎﺑﻖ ﻣﻔﻬﻮﻣﯽ-ﻣﻌﻨﺎﯾﯽ ﺑﺎ ﺻﻮر ﻋﺪدي- ﻫﻨﺪﺳﯽ ﻧﻬﻔﺘﻪ در ﻣﺠﻤﻮﻋﻪ ي ﺳﻔﺎل ﻧﯿﺸﺎﺑﻮر و ﻫﻤﭽﻨﯿﻦ ﺗﺄﺛﯿﺮﭘﺬﯾﺮي از ﻧﻘﻮش ﻫﻨﺮ ﺳﺎﺳﺎﻧﯿﺎن (ﮐﻪ ﺧﻮد ﻣﺘﺄﺛﺮ از دﯾﻦ زرﺗﺸﺘﯽ ﺑﻮده)، ﺑﻪ وﺿﻮح دﯾﺪه ﻣﯽ ﺷﻮد. در دﺳﺘﻪ ﺑﻨﺪي ﺳﻔﺎﻟﯿﻨﻪ ﻫﺎي ﻧﯿﺸﺎﺑﻮر و ﻧﻘﻮش آن ﻫﺎ، ﻇﺮوﻓﯽ از ﺗﮏ ﺟﺎﻧﻮر ﺗﺎ ﻇﺮوف ﺑﺎ ﺟﺎﻧﻮران زﯾﺎد و ﻣﺘﺮاﮐﻢ وﺟﻮد دارد. ﻫﺪف از ﻧﮕﺎرش اﯾﻦ ﻣﻘﺎﻟﻪ ﺑﺮرﺳﯽ ﻣﻮﺗﯿﻒ و ﻧﻤﺎدﻫﺎي ﻧﻘﺶ ﺑﺴﺘﻪ ﺑﺮ ﯾﮏ اﺛﺮ ﺳﻔﺎﻟﯿﻦ ﻧﯿﺸﺎﺑﻮر از دﺳﺘﻪ ي ﻧﻘﻮش ﻣﺘﺮاﮐﻢ و ﮐﺸﻒ وﺣﺪت ﻧﻘﻮشِ درﻫﻢ و ﯾﺎﻓﺘﻦ رواﺑﻂ رﻣﺰي- ﻫﻨﺪﺳﯽ ﭘﻨﻬﺎنِ ﻣﯿﺎن ﻋﻨﺎﺻﺮ آن، ﺑﺎ روﯾﮑﺮد ﮐﯿﻔﯽ و ﺑﻪ ﺷﯿﻮه ي ﺗﺤﻠﯿﻠﯽ-ﺗﻮﺻﯿﻔﯽ ﻣﯽ ﺑﺎﺷﺪ. اﯾﻦ ﭘﮋوﻫﺶ ﺟﻬﺖ ﭘﺎﺳﺦ ﺑﻪ ﭼﮕﻮﻧﮕﯽ اﺻﻞ و اﺳﺎسِ ﺗﺮﺳﯿﻢِ ﻧﻘﺶ و ﻧﻤﺎدﻫﺎي اﯾﻦ اﺛﺮ و ﭘﯽ ﺟﻮﯾﯽِ ﻋﻮاﻣﻞ ﻣﺆﺛﺮي ﭼﻮن ﻧﻘﺶ دﯾﻦ، ﮐﻪ در ﻃﺮاﺣﯽ آن، ﺳﻬﯿﻢ ﺑﻮده ﺣﺮﮐﺖ ﻣﯽ ﮐﻨﺪ. از ﻣﯿﺎن ﺗﻨﻮع ﺗﻤﺎﺛﯿﻠﯽ ﮐﻪ در ﻓﺮﻗﻪ ي اﺳﻤﺎﻋﯿﻠﯿﻪ و ﺑﻪ وﯾﮋه آراي اﺧﻮان اﻟﺼﻔﺎ وﺟﻮد داﺷﺘﻪ ﺑﻪ ﺗﻄﺒﯿﻖ و ﮐﺎرﺑﺮد ﺗﻤﺎﺛﯿﻞ ﻋﺪدي و اﺳﺘﻔﺎده ي اﻧﺪﯾﺸﻤﻨﺪانِ ﺑﺎﻃﻨﯽ از ﻇﺮﻓﯿﺖ ﺗﻤﺜﯿﻞ ﭘﺮدازي آﯾﯿﻦ ﻫﺎ و ﻣﺬاﻫﺒﯽ ﭼﻮن زرﺗﺸﺘﯽ ﺑﺎ ﻧﻘﻮشِ اﺛﺮ ﻣﺬﮐﻮر ﭘﺮداﺧﺘﻪ ﻣﯽ ﺷﻮد. در واﻗﻊ ﻣﻬﻢ ﺗﺮﯾﻦ ارزﯾﺎﺑﯽ از اﯾﻦ ﮐﺎﺳﻪ ي ﺑﺰرگ، ﻓﺮم داﯾﺮه و دواﯾﺮ ﻣﺘﺤﺪاﻟﻤﺮﮐﺰ، ﻣﺜﻠﺚ و ﺑﻪ وﯾﮋه رواﺑﻂ ﻣﺜﻠﺚ وار از ﻋﺪد ﺳﻪ ﺑﻮد ﮐﻪ ﺳﺎﺧﺘﺎرﻫﺎي ﺳﻪ ﺗﺎﯾﯽ را ﻣﻮﺟﺐ ﺷﺪ و ﺗﺤﺖ ﺳﻪ ﮔﺎن ﻫﺎ ﻧﺎم ﮔﺬاري و ذﯾﻞ ﺗﺤﻠﯿﻞِ ﻧﻤﺎدﯾﻦ ﻋﺪد ﺳﻪ ﺑﻪ ﺑﺤﺚ و ﺑﺮرﺳﯽ ﮔﺬاﺷﺘﻪ ﺷﺪ. ﻣﻔﺎﻫﯿﻢ ﻧﻤﺎدﯾﻦ ﻋﺪدي ﮐﻪ ﻫﻤﺎﻧﻨﺪ وﯾﮋﮔﯽ ﺑﺎﻃﻦ ﮔﺮاﯾﯽ در اﺳﻤﺎﻋﯿﻠﯿﻪ، در ﺑﺎﻃﻦِ ﻧﻘﻮش اﯾﻦ ﻇﺮف ﻧﻬﻔﺘﻪ ﺑﻮدﻧﺪ، ﭘﺲ از واﮐﺎوي ﺑﻪ ﻋﻨﻮان ﻋﻨﺎﺻﺮ زﯾﺮﺳﺎﺧﺘﯽ و ﺗﻌﯿﯿﻦ ﮐﻨﻨﺪه ي ﺳﺎﺧﺘﺎر اﺻﻠﯽ ﻧﻘﻮش اﯾﻦ اﺛﺮ در ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷﺪﻧﺪ. در ﻧﻬﺎﯾﺖ ﺷﺎﯾﺪ ﺑﺘﻮان ﺑﻪ ﻣﻮﺟﺐ ﺗﺤﻠﯿﻞ اﺧﻮان از ﻋﺪد و ﻫﻨﺪﺳﻪ، ﻋﻠﺖ ﺗﻘﺪم اﻋﺪاد و ﻫﻨﺪﺳﻪ ي ﻧﻬﻔﺘﻪ در اﺛﺮ ﻣﺬﮐﻮر ﮐﻪ ﻣﻨﺠﺮ ﺑﻪ ﮐﺸﻒ رواﺑﻂ ﻣﺜﻠﺚ وار ﺷﺪ را ﻣﺒﻨﺎﯾﯽ ﺑﺮاي ﺣﺮﮐﺖ از ﻣﺤﺴﻮﺳﺎت ﺑﻪ ﻣﻌﻘﻮﻻت و از ﻋﺎﻟﻢ ﺟﺴﻤﺎﻧﯽ ﺑﻪ ﻋﺎﻟﻢ روﺣﺎﻧﯽ و اﺗﺼﺎل ﺑﻪ ﺳﻮي ﺣﻖ ﺗﻌﺎﻟﯽ ﮐﻪ در ﻧﻘﻄﻪ و ﻣﺜﻠﺚ ﻣﺮﮐﺰيِ اﺛﺮ ﻣﻮﺟﻮد اﺳﺖ، ﻗﻠﻤﺪاد ﮐﺮد.
چكيده لاتين :
Having a policy of leniency and tolerance, Samanid Empire, ruling over Khorasan, and led to thought freedom atmosphere and the emergence of various schools of thought and religious sects. Conceptual-semantic matching of a branch of Shia, Ismailism, as one of the most dominant sects in Khorasan and Nishapur, (in comparison with the other contemporaneous religions) with concealed numerical-geometric forms at Nishapur pottery collection can be obviously seen after analysis and decoding of motifs in 4th century AH buffwares. Due to the presence of some veins of Zoroastrianism and Manichaean religion in Ismailism, Nishapur art from 4th century AH is directly impressed by Sassanid era designs. This paper with qualitative method and Analytical-descriptive approach studies hidden mysterious concepts in geometry, numbers and motifs present in one pottery relic. Among allegory varieties existing in Ismailism sect and specifically in Akhavan Al-Safa’s views, application and adaptation of numeral allegories and esoteric thinker’s usage of allegory processing capacity of religions such as Zoroastrianism, with mentioned relic designs and motifs will be addressed in present study. The main evaluation of this big bowl was, indeed, circular form and concentricity circles, triangular and especially number three’s quasi-triangular relations leading to triplex structures naming as “triads” reviewing and discussing under symbolic analysis of number three. After scrutinizing, numeral symbolic concepts, which was hidden inside of its designs and similar to the inward-oriented characteristic in Ismailism, were considered as infrastructural elements and a determination of fundamental motif of relic. Finally, taking Akhavan analysis of number and geometry into account, numbers primacy and secret geometry, resulting in detecting the quasi-triangular relations, can be considered as a basic for the movement from perceptibility to rationality and from the materiality to spirituality and hence connecting to Lord showing by a centric point and triangular in mentioned relic.
