كليدواژه :
ﺳﻔﺎل ﻧﯿﺸﺎﺑﻮر , ﭘﯿﺶ ﮔﻮﯾﯽ ﻧﺠﻮﻣﯽ , ﺑﺎورﻫﺎي آﺧﺮاﻟﺰﻣﺎﻧﯽ , اﺳﻤﺎﻋﯿﻠﯿﻪ
چكيده فارسي :
ﮔﺴﺘﺮه ي ﻣﺘﻨﻮﻋﯽ ﮐﻪ از ﻧﻘﺶ ﭘﺮدازي ﺳﻔﺎﻟﯿﻨﻪ ﻫﺎي ﻧﯿﺸﺎﺑﻮر ﻣﻮﺟﻮد اﺳــﺖ، ﺑﺮرﺳــﯽ ﻫﺎﯾﯽ ﺑﺎ ﮔﺮاﯾﺶ ﻫﺎي ﻣﺨﺘﻠﻔﯽ ﺑﻪ ﻫﻤﺮاه داﺷــﺘﻪ اﺳــﺖ. ﻋﻤﺪه ي اﯾﻦ ﺗﺤﻘﯿﻘﺎت ﯾﺎ ﻣﺘﮑﯽ ﺑﺮ ﻧﻘﺶ و ﻓﺮم اﺳــﺖ، ﯾﺎ در ﭘﯽ ﺗﺤﻠﯿﻞ ﻣﺤﺘﻮاﺳـﺖ. در ﺑﺮرﺳـﯽ ﻓﺮم و ﺷـﮑﻞ ﻇﺎﻫﺮي، ﺑﻦ ﻣﺎﯾﻪ ﻫﺎي ﺑﺼـﺮي اﯾﻦ ﻧﻘﻮش در اﯾﺮان ﺑﺎﺳـﺘﺎن و ﺳﺎﯾﺮ ﻓﺮﻫﻨـﮓ ﻫـﺎ و ادﯾﺎن و ﺑﺴـــﺘﺮﻫﺎﯾﯽ از اﯾﻦ ﻗﺒﯿﻞ ﻣﻮرد ﺗﻮﺟﻪ ﺑﻮده اﻧﺪ. در ﺣﯿﻄﻪ ي ﻣﺤﺘﻮا، ﺑﺎزﺧﻮاﻧﯽ ﻋﻘﺎﯾﺪ ﺑﺎﺳﺘﺎﻧﯽ در ﻧﻘﺶ ﻣﺎﯾﻪ ﻫﺎ ﻫﻤﻮاره ﻣﻮرد ﺗﺄﮐﯿﺪ ﻣﺤﻘﻘﺎن در ﺳـﻔﺎل ﻧﯿﺸـﺎﺑﻮر ﻗﺮار ﮔﺮﻓﺘﻪ اﺳـﺖ. در اﯾﻦ ﻣﻘﺎﻟﻪ، ﮔﺮوﻫﯽ از ﻇﺮوف ﺳــﻔﺎل ﻣﻨﻘﻮش ﻧﯿﺸــﺎﺑﻮر ﮐﻪ داراي اﺷــﺘﺮاﮐﺎت در اﺟﺰاي ﻧﻘﺶ و ﺗﺮﮐﯿﺐ ﺑﻨﺪي ﻫﺴــﺘﻨﺪ ﺑﻪ ﺻــﻮرت ﻫﺪﻓﻤﻨﺪ اﻧﺘﺨﺎب ﺷــﺪه اﻧﺪ. ﻋﻠﯽ رﻏﻢ اﻫﻤﯿﺖ ﻧﻬﻀــﺖ ﺑﺎزﮔﺸــﺖ ﻓﺮﻫﻨﮓ اﯾﺮاﻧﯽ و ﺑﺨﺼــﻮص اﺛﺮﮔﺬاري ﺷــﺎﻫﻨﺎﻣﻪ ﻓﺮدوﺳــﯽ، اﯾﻦ ﺟﺎ ﻣﺘﻮن و اﻗﻮاﻟﯽ ﻣﻮرد ﺗﻮﺟﻪ ﻗﺮار دارﻧﺪ ﮐﻪ ﻣﺴــﺘﻘﯿﻤﺎً از ﻃﺒﻘﺎت ﻋﺎﻣﻪ ﻣﺮدم و ﺑﺎورﻫﺎي ﺑﻌﻀـﺎً ﺧﺮاﻓﯽ اﻣﺎ ﻣﻬﻢ ﺣﺮﻓﯽ زده اﻧﺪ. ﻫﻤﯿﻦ ﻣﻨﺎﺑﻊ ﻓﺮﺿـﯿﺎت ﺗﺤﻘﯿﻖ را ﻧﯿﺰ ﺷﮑﻞ داده اﻧﺪ: از ﺟﻤﻠﻪ ﺳـــﻠﺴـــﻠﻪ اي از ﭘﯿﺸـــﮕﻮﯾﯽ ﻫﺎي ﻧﺠﻮﻣﯽ ﮐﻪ در ﭘﯿﻮﻧﺪ ﺑﺎ اﻋﺘﻘﺎدات آﺧﺮاﻟﺰﻣﺎﻧﯽ، ﺟﻬﺖ ﺗﺤﻘﯿﻖ- ﯾﺎ ﻓﺮﺿـــﯿـﻪ - را ﺑﺮاي ﺗﺤﻠﯿـﻞ ﻧﻘﻮش ﻣﺸـــﺨﺺ ﻣﯽ ﮐﻨـﺪ. روش ﻣﻄﺎﻟﻌﻪ ي آﺛﺎر ﺑﺮ ﻣﺒﻨﺎي روش ﻫﺎي ﮐﯿﻔﯽ ﺗﻮﺻﯿﻔﯽ - ﺗﺤﻠﯿﻠﯽ و ﺑﻮده اﺳﺖ. ﻫﺪف از ﺷﮑﻞ ﮔﯿﺮي اﯾﻦ ﻣﻄﺎﻟﻌﺎت، ﺑﺎزﺧﻮاﻧﯽ ﻣﺤﺘﻮاﯾﯽ ﺳﻔﺎل ﻧﯿﺸﺎﺑﻮر و ﺗﺼـﺤﯿﺢ ﺗﻠﻘﯿﺎت ﻣﻮﺟﻮد از ﺗﺎرﯾﺦ ﺳـﻔﺎل اﯾﺮان در ﺳـﺪه ﻫﺎي ﻧﺨﺴـﺖ اﺳﻼﻣﯽ در اﯾﺮان اﺳﺖ. در ﻧﺘﯿﺠﻪ ي ﺗﺤﻘﯿﻖ، ﻣﺸـﺨﺺ ﺷﺪ ﮐﻪ اﮔﺮ ﻣﻄﺎﺑﻖ ﻧﻈﺮ رﯾﭽﺎرد ﺑﻮﻟﯿﺖ ﺳﻔﺎل ﻣﻨﻘﻮش ﻧﺨﻮدي ﻧﯿﺸﺎﺑﻮر، ﯾﮏ ﻣﺮﺣﻠﻪ ﺑﻌﺪ از ﻇﺮوف ﮐﺘﯿﺒﻪ اي ﺗﻮﻟﯿﺪ ﺷﺪه ﺑﺎﺷﺪ و ﯾﺎ ﺗﻮﻟﯿﺪ آن ﻫﺎ در ﻗﺮن ﭼﻬﺎرم ﻫﺠﺮي ﻗﻤﺮي اﻓﺰاﯾﺶ ﻣﻌﻨﺎداري ﯾﺎﻓﺘﻪ ﺑﺎﺷـﺪ؛ ﻣﯽ ﺗﻮان ﻃﯿﻒ ﺳـﻔﺎل ﻣﻨﻘﻮش را ﺑﻪ ﮔﻮﻧﻪ اي ﺗﻔﺴـﯿﺮ ﮐﺮد ﮐﻪ وﺟﻮه ﮐﺎرﮐﺮدي ﻣﺘﻔﺎوﺗﯽ داﺷﺘﻪ ﺑﺎﺷﺪ. ﯾﺎﻓﺘﻪ ﻫﺎي ﭘﮋوﻫﺶ ﻧﺸﺎن ﻣﯽ دﻫﺪ ﮐﻪ اﮔﺮ از درﯾﭽﻪ ي ﺑﺎورﻫﺎي آﺧﺮاﻟﺰﻣﺎﻧﯽ و ﭘﯿﺶ ﮔﻮﯾﯽ ﻫﺎي ﻧﺠﻮﻣﯽ- ﮐﻪ ﻋﻤﻮﻣﺎً ﺷـﮑﻞ ﺧﺮاﻓﯽ ﭘﯿﺪا ﮐﺮده اﻧﺪ- ﺑﻪ ﻣﻮﺿـﻮع ﻧﮕﺮﯾﺴﺘﻪ ﺷﻮد، رواﺑﻂ ﻣﯿﺎن اﺟﺰاي ﻧﻘﻮش از ﺣﺎﻟﺖ ﺻﺮﻓﺎً ﺑﺼـﺮي و ﺷﺒﻪ ﺳﺎﺳﺎﻧﯽ ﺑﻪ ﯾﮏ ﻧﻈﺎم رﻣﺰﮔﺎﻧﯽ ﻗﺎﺑﻞ ﺗﻐﯿﯿﺮ ﻫﺴﺘﻨﺪ. ﺑﻪ ﻧﻈﺮ ﻣﯽ رﺳﺪ ﮐﻪ ﺗﺮﮐﯿﺐ ﻧﻘﺶ ﭘﺮﻧﺪه-ﮐﺒﻮﺗﺮ- و ﺑﺰﻏﺎﻟﻪ، ﺑﺎزﺗﺎب اﻧﺪﯾﺸـﻪ ﻫﺎي ﭘﯿﺸـﺎ اﺳـﻼﻣﯽ ﻧﯿﺴﺘﻨﺪ. ﺑﻠﮑﻪ در اﻣﺘﺰاﺟﯽ از ﺑﺎورﻫﺎي آﺧﺮاﻟﺰﻣﺎﻧﯽ و ﭘﯿﺶ ﮔﻮﯾﯽﻫـﺎي ﻧﺠﻮﻣﯽ، وﻗﻮع رﺟﻌـﺖ ﯾـﮏ ﻣﻨﺠﯽ- ﻣﺜﻼً اﺑﻮﻣﺴـــﻠﻢ- ﯾـﺎ ﮔﺮوﻫﯽ از ﻣﻨﺠﯿﺎن در اﻗﺘﺮان ﻣﺜﻠﺜـﻪ ي ﺧـﺎﮐﯽ در ﺑﺮج ﺟﺪي را ﮔﺰارش ﻣﯽ دﻫﻨـﺪ ﮐـﻪ ﺑـﻪ زودي در آﻏـﺎز ﻗﺮن ﭘﻨﺠﻢ ﻫﺠﺮي ﺑﻪ وﻗﻮع ﻣﯽ ﭘﯿﻮﺳﺖ.
چكيده لاتين :
The wide array of decorations on the Nishapur ceramic vessels has instigated several analyses taking a variety of approaches. These studies mainly hinge on exploring the forms of the motifs, though some also seek to analyze their content. Those concerned with the formal analysis have focused on examining the visual origins of the motifs in ancient Iran and neighboring cultures as well as other religions and the like. As regards the content, decoding the underlying ideological import of the motifs has always been emphasized. The main concern of the present work was exploring painting or the function of the motifs on a piece of ceramic vessel from Nishapur .The results suggested that, granting that the Nishapur Animate Buff Ware postdated the inscribed variety or that its production witnessed an upsurge in the 4th century AH (10th century AD), the vessel under discussion, and also the painted type in general, may be viewed as a medium intended to promote the Iranian culture. This observation, also applying to the related examples of this ware, gives credence to the general scholarly conception of the motifs of Nishapur ware. However, their original function and stimulus are to be found in the second layer. The results from the analysis of the vessel in question suggested that in the dove and goat motifs one can find some details of the apocalyptic beliefs and astronomical prognostications. Here, dove and goat are probably something more than mere reflection of the pre-Islamic ideas. Rather, through a combination of apocalyptic beliefs and astronomic predictions, they convey the message of the resurrection of one or a group of redeemers at the conjunction of the earthly triplicity in the sign of Capricorn, which occurred at the beginning of the 5th century AH/11th century AD, and Abu Moslem Khorasani was probably one of those saviors.
