پديد آورندگان :
انوري مقدم، امير دانشگاه پيام نور واحد تهران شرق - گروه هنر و معماري , فرجامي، محمد دانشگاه تهران - دانشكده علوم انساني - گروه باستان شناسي , محمودي نسب، علي اصغر دانشگاه مازندران - دانشكده هنر و معماري - گروه باستان شناسي , سروش، محمدرضا دانشگاه ميبد - دانشكده علوم انساني - گروه ايران شناسي
كليدواژه :
سفال , دورة سلجوقي , نقش افزوده , خراسان جنوبي , قلعه كوه قاين
چكيده فارسي :
در اين مقاله به بررسي سفال نقش افزوده قلعه كوه قاين، يكي از قلاع معروف اسماعيليان همزمان با قرون مياني اسلامي در منطقة خراسان جنوبي (قهستان) پرداخته مي‌شود، اين قلعه در 2/5 كيلومتري جنوب شرق قاين و در مسير جاده خراسان به سيستان قرار گرفته است. در بررسي نقوش سفالينه‌هاي قلعه‌كوه قاين، اين سوالات مطرح است: 1- مهم‌ترين دليل منتسب كردن سفال با نقش افزوده قلعه كوه قاين به قرون مياني اسلامي (خصوصاً دوره‌هاي سلجوقي و خوارزمشاهي) چيست؟ 2- ويژگي‌هاي منحصر به فرد نقوش افزودة سفال استامپي قلعه كوه قاين چيست و مي‌توان طبقه‌بندي خاصي براي اين نقوش در نظر گرفت؟ اين مقاله سعي دارد با هدف شناسايي و طبقه‌بندي نقش افزوده‌هاي استامپي سفال‌هاي قلعه كوه قاين، به روش توصيفي- تحليلي با رويكرد تطبيقي و براساس مشاهدات عيني و بررسي نمونه‌هاي به دست آمده طي آواربرداري قلعه كوه قاين طي سال‌هاي 1385 تا 1388 (حدود 3000 قطعه) به اين پرسش، پاسخ منطقي دهد. نتايج به دست آمده، تنوع بسيار گسترده در نقش مايه‌ها، ابعاد و نحوه قرارگيري نقش افزوده‌ها را در سفالينه‌هاي قلعه‌كوه قاين نشان مي‌دهد كه از جمله مي‌توان به طرح‌هاي انساني از نوع تركيبي، جانوري، گياهي و ساير پديده‌ها شامل خورشيد، ستاره، چليپا و نقوش هندسي اشاره كرد.
چكيده لاتين :
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.
