چکیده:
در این مقاله به بررسی سفال نقش افزوده قلعه کوه قاین، یکی از قلاع معروف اسماعیلیان همزمان با قرون میانی اسلامی در منطقة خراسان جنوبی (قهستان) پرداخته میشود، این قلعه در 5/2 کیلومتری جنوب شرق قاین و در مسیر جاده خراسان به سیستان قرار گرفته است. در بررسی نقوش سفالینههای قلعهکوه قاین، این سوالات مطرح است: 1- مهمترین دلیل منتسب کردن سفال با نقش افزوده قلعه کوه قاین به قرون میانی اسلامی (خصوصاً دورههای سلجوقی و خوارزمشاهی) چیست؟ 2- ویژگیهای منحصر به فرد نقوش افزودة سفال استامپی قلعه کوه قاین چیست و میتوان طبقهبندی خاصی برای این نقوش در نظر گرفت؟ این مقاله سعی دارد با هدف شناسایی و طبقهبندی نقش افزودههای استامپی سفالهای قلعه کوه قاین، به روش توصیفی- تحلیلی با رویکرد تطبیقی و براساس مشاهدات عینی و بررسی نمونههای به دست آمده طی آواربرداری قلعه کوه قاین طی سالهای 1385 تا 1388 (حدود 3000 قطعه) به این پرسش، پاسخ منطقی دهد. نتایج به دست آمده، تنوع بسیار گسترده در نقش مایهها، ابعاد و نحوه قرارگیری نقش افزودهها را در سفالینههای قلعهکوه قاین نشان میدهد که از جمله میتوان به طرحهای انسانی از نوع ترکیبی، جانوری، گیاهی و سایر پدیدهها شامل خورشید، ستاره، چلیپا و نقوش هندسی اشاره کرد.
In the Esmaeili forts, although the living conditions were not very favorable and most of the time they went to war and conflict and defended them against the central power, but nevertheless, all kinds of arts, especially pottery, maintained their artistic degree and prestige. The fifth to seventh centuries, which coincided with the rise of the Seljuks and then the Khwarezmshahs, reached its peak. In the field of pottery, in addition to new styles in production, technique and decoration, the heritage of the past was used and not forgotten. In this article, the pottery of the added role of Qayen Mountain Castle, which is located 2.5 km southeast of Qayen city, is studied. This fort is one of the famous forts in Qohestan region (South Khorasan), which is important during the Islamic era, especially at the same time as the Esmaeili gained power in this region and its location is in an important communication area that extends from north Khorasan to south Khorasan. The pottery of the Islamic period obtained from this castle belongs to the Middle Ages (Seljuk) to the late Islamic (Safavid), however, most of the pottery belongs to the Islamic Middle Ages (fifth to eighth centuries), which in terms of decoration They are divided into glazed and unglazed groups. Among unglazed pottery, pottery with added role has a lot of abundance and variety. In fact, the importance of this type of pottery in the area of Qayen Mountain Castle, compared to other contemporary castles in the region, has caused this issue to be addressed. Pottery shows the connection between Iranian art over time. In examining the pottery motifs of Qaen Mountain Castle, these questions are: 1- What is the most important reason for attributing pottery with the added role of Qaen Mountain Castle to the Islamic Middle Ages (especially the Seljuk and Khwarezmshahi periods)? 2- What are the unique features of the added pottery patterns of Qayen Mountain Castle and can a special classification be considered for these motifs? Considering that few studies have been done in this regard so far, so this article tries to identify and classify the role of stamp additives in the pottery of Qayen Mountain, in a descriptive-analytical method with a comparative approach and based on objective observations andExamining the samples obtained during the demolition of Qayen Mountain Castle from 2006 to 2009 (about 3000 pieces) will give a logical answer to this question. The results show a very wide variety of motifs, dimensions and placement of the role of additives in the pottery of Qayen Mountain Castle, which can be combined with human designs of animal, plant and other phenomena. Features include sun, stars, crosses and geometric patterns. These decorations are mostly used to decorate the upper part of the body of pottery, and most of the motifs used in these samples are grooved (strip) geometric patterns on the body of the pottery and combine them with added patterns in a simple or combined form inThey are arranged and arranged together.