نشریه علمی هنرهای صناعی خراسان بزرگ

نشریه علمی هنرهای صناعی خراسان بزرگ

شناسایی مکتب سفال سمرقند در سده‌های سوم تا ششم هجری قمری بر مبنای یافته‌های باستان‌شناسی ماوراءالنهر

نوع مقاله : مقاله پژوهشی

نویسنده
استادیار، گروه صنایع‌دستی، دانشکده هنر، دانشگاه اراک، اراک، ایران
10.22034/hgj.2025.547656.1049
چکیده
مبنی بر شواهد تاریخی، دورۀ سامانی اوج عصر تولید سفال در مرحله‌­ای از زیبایی و خلاقیت است و هنرمندان در سراسر ایران‌­زمین، به‌­ویژه خراسان بزرگ، به ­­آفرینش سفالینه‌­های لعاب‌دار همت گماردند. سفال­‌های این منطقه صرف‌نظر از زیبایی ظاهری و فنون خاصی که برای تهیه لعاب آن‌ها به‌کار رفته است از ویژگی‌هایی خاص در نوع تزئین برخود دارند و ناحیه ماوراءالنهر، به­‌خصوص واحه سمرقند و توابع آن همچون چاچ، دارای این ویژگی بود. این پژوهش در پی پاسخگویی به این سؤال است که بر اساس یافته‌­های باستان‌شناسی، آیا می‌­توان منطقۀ سمرقند را در هنر سفالگری ماوراءالنهر مکتبی مستقل دانست؟ روش پژوهش حاضر مبنی بر تحلیل ژانر از مجموعه روش‌­های کیفی و جمع‌­آوری اطلاعات به شیوۀ کتابخانه‌­ای است. بررسی‌­ها نشان از شباهت آشکار نوع کاربرد لعاب و برخی تزئینات به‌کار رفته بر آثار ناحیه ماوراءالنهر می­‌دهد. البته باوجود تأثیرپذیری فنی از نیشابور، سمرقند و نواحی مجاور آن دارای خصلتی بومی بوده و کاربرد مضامین واقعی و اساطیری موردتوجه بوده است. همچنین، به دلیل وجود برخی خرده تزئینات در آثار سمرقند و نواحی مجاور و عدم کاربرد این تزئینات ریز در نیشابور، تمایزی خاص بین آثار این نواحی به مرکزیت سمرقند با نیشابور وجود دارد. نتایج پژوهش مشخص نمود به دلیل وجود برخی ویژگی‌های خاص چه در نوع تزئینات و چه به‌­صورت مضمون می­‌توان سمرقند را به‌مثابۀ سبکی ویژه برشمرد که حائز مکتبی خاص است.
کلیدواژه‌ها

موضوعات


عنوان مقاله English

Identifying the Samarkand Earthenware School in the 3rd to 6th Centuries AH Based on Archaeological Findings from Transoxiana

نویسنده English

Azar Moukhah
style, school, Transoxiana, Samarkand, Earthenware
چکیده English

According to the history of the Samanid period, the peak of the era of earthenware production was at a stage of beauty and creativity, and artists throughout Iran, especially Greater Khorasan, devoted themselves to creating glazed earthenware. The earthenware of this region, regardless of its external beauty and the special techniques used to prepare its glaze, has special characteristics in the type of decoration, and the Transoxiana region, especially the Samarkand region and its dependencies such as Chach, has had this characteristic. This research seeks to answer this question: Based on archaeological findings, can the Samarkand region be considered an independent school in Transoxiana earthenware art? The present research method is genre analysis, a set of qualitative methods, and data collection is done through library methods. Studies show a clear similarity in terms of the type of glaze application and some of the decorations used on the works of the Transoxiana region. However, despite the technical influence of Neyshabur, Samarkand and its neighboring regions, they had a local character and the use of real and mythological themes was of interest to them. On the other hand, due to the presence of some small decorations in the works of Samarkand and neighboring regions and the lack of use of these small decorations in Neyshabur, there is a special distinction between the works of these regions centered on Samarkand and Neyshabur. The results of the research indicated that due to the presence of some special features, both in the type of decorations and in terms of content, Samarkand can be considered as a special style that has a special school.

کلیدواژه‌ها English

style
school
Transoxiana
Samarkand
Earthenware
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  • تاریخ دریافت 07 بهمن 1403
  • تاریخ بازنگری 16 اسفند 1403
  • تاریخ پذیرش 21 فروردین 1404