Abstract:
سامانیان افزون بر ارتباط گسترده با مناطق مختلف، با احیای هنر ایران پیشازاسلام، زمینههای رشد و شکوفایی فرهنگ و هنر ایران را فراهم آوردند. از دستاوردهای این زمینهسازی، کاربرد متفاوت تزیینات خوشنویسی بر ظروف سفال سامانی است که با تمرکز بر اندیشۀ ایرانی و تأثیرپذیری از نقوش همعصر خود در سفال دوره تانگ چین شکل گرفتهاست. مسئله اینجاست که تنوع خطوط کوفی و سادهسازی نقوش پرندگان در سفال سامانی چه شباهتهایی با نقوش سفال تانگ و تفکر آن دارد؟ این مقاله با هدف شناخت ویژگیهای مشترک بصری و معنایی خوشنویسی و دیگر نقوش سفال دو منطقه نیشابور و چانگشا، بر این فرض میباشد که روابط بینافرهنگی میان این دو تمدن در شکل و محتوا، مبتنی بر چرخش زمان،گردش طبیعت و بهویژه ارتباط انسان با جهان هستی است که از طریق عناصر طبیعت در تزیینات بازنمایی شدهاست.نگارندگان با روش توصیفی-تحلیلی به مطالعۀ تطبیقی عناصر بصری و اندیشههای این دو دوره بر اساس اصول گشتالت پرداخته و به این نتیجه رسیدهاند که نقوش سفالهای هر دو منطقه بر پایۀ اصول گشتالت مشترکی شکل گرفتهاست که معناهای مشابهی از تفکر دائوئیستی و عرفان اسلامی را در بر دارد، بهطوریکه در طرحاندازی برخی از نقوش رایج سفال سامانی تأثیراتی از تفکر چین مشاهده میشود.
Pottery in the Samani period (3rd and 4th centuries AD) was one of the most important artistic periods, and the importance of these pottery is due to the presence of various inscriptions in Kufic script and the use of birds in calligraphy. The open mind and without prejudice of the Samanid government, along with the promotion of Islam and the extensive connections of the Samanids in different regions and their influence on pre-Islamic art, has provided the basis for the expansion of science and culture and the prosperity and creativity of this period. On the other hand, due to the connection that Iranians established with China through Central Asia and the Uyghur people, the Persian language had influence in that region and reached China as well. This shows the closeness of the two Kufi and Chinese scripts in terms of form, and although both regions had special values and rules for calligraphy, so far no focused research has been done on the influence of these two scripts on each other .In this regard, the question has been raised that the variety of Kufic lines and the simplification of bird motifs in Samani pottery have similarities with the Tang pottery motifs and its thinking? This article aims to know the common visual and semantic features of calligraphy and other pottery motifs of the two regions of Neishabur and Changsha, based on the assumption that the intercultural relations between these two civilizations in form and content are based on the cycle of time, the cycle of nature and especially the relationship between man and the world It is the existence that is represented through the elements of nature in decorations. this research method is descriptive and analytical, and Gestalt design principles have been used in an adaptive manner. Gestalt, or the totality of perceived experience, is the rules that determine the relationship between forms. Principles that have been used the most in visual arts.At the same time, what we have experienced in the third century BC in Chinese philosophy and in the language of Lao Tzu, and in Iran in the third and fourth centuries of Hijri in the thought of Akhwan al-Safa, has been seen later in the twentieth century. Gestalt design principles show that these principles were considered centuries before and after Christ and during the Islamic period in Iran. The sampling method was non-random and purposeful, and for this purpose, five bowls were prepared from each of the two regions(Neishabur and Changsha) were selected, and the library method was used to collect information. The results of this research showed that the motifs of both Neishabur and Changsha pottery follow similarities, continuities, common fates and other gestalt design principles and both regions are influenced by Daoist (Chinese) and Islamic(Iran) thinking. In the meantime, considering the presence of Works of Chinese pottery found in Iran and the relations established between Iran and China, it can be seen that there are traces of Chinese thought In Iran and its art.