گاهنگاري سفال مينايي براساس نمونههاي كتيبهدار

Chronology of Mina’i Ware based on in Scripted Samples

در دوره مياني اسلام در ايران، مينا، يك اصطلاح كلي براي لعاب روي فلز، شيشه و سفال بود اما در دوره معاصر، مينايي به گروه خاصي از سراميك، با نقاشي رولعابي و تزيينات پيكرهاي، هندسي و گياهي اشاره دارد كه در بسياري موارد به كتيبههايي مزين بوده و با طلا نيز آراسته شده است. اين سفالينههاي كتيبهدار،‌ جايگاهي براي پيوند دو هنر سفالگري و خوشنويسي است و نشان ميدهد علاوه بر اينكه خوشنويسي در تزيين سفالينهها حضور يافته، بلكه بستر مناسبي براي انتقال مفاهيم نيز بودهاست. كتيبههاي رقمدار روي ظروف مينايي، اين آثار را به اسناد با ارزش تصويري در هنر ايران بدل كردهاست. با استناد به اين تاريخ ها و رقمها، ميتوان محدوده زماني توليد مينايي را تخمين زد و صنعتگران فعال در اين صنعت را شناسايي كرد. هدف اين پژوهش، گاهنگاري سفال مينايي براساس نمونههاي داراي تاريخ و رقم است. نتايج پژوهش نشان ميدهد، توليد اين محصولات بين سال هاي 575 و 616 هـ.ق بودهاست. القاب و كنيه سازندگان نيز، مركز اصلي توليد مينايي را شهر كاشان نشان ميدهد. علاوه براين، با استناد به رقمهاي نگاشته شده ميتوان شاخصترين صنعتگر مينايي را ابوزيد كاشاني دانست. اين پژوهش مبتني بر شيوه توصيفي-تحليلي است كه با استفاده از اسناد و منابع كتابخانهاي و مطالعات تصويري سفال هاي مينايي انجام شدهاست.

In medieval Islamic Persia, mina was known as a general term for enameling on metal, glass and ceramic. Consequently, in modern times mina’I is one of the most important types of Islamic ceramic production and identified by stone paste body and multicolored polychrome over-glazes which represent figural, geometric and floral designs as well as calligraphic perform. Additionally, mina’I wares are in some cases enlightened as gilded surface. The style can be found in numerous forms that include bowls, ewers, cups, beakers, jugs, inkstands and tiles. They are often referred to as “Haft-Rang” (seven-color) ceramics due to their polychromic character. The colors were red, brown, cobalt blue, green, black, white and gold. It was believed, until quite recently, that one of these seven colors, namely cobalt blue, was painted not over, but in the glaze, and all the others were painted over. It has been argued that their style and imagery are reflected from Islamic manuscript and wall paintings. Mina’I wares are very interesting to research not only in term of ceramic history, but in Islamic painting. Mina’I, indicates the relationship between pottery and calligraphy too. In addition in scripted ceramic with all their ability have an impact in good position for visual aesthetics as well as for conveying information. The dates and names written on it, is one of the most important documents that is also provided historical and authenticity background. Much of our current understanding of minai techniques, and of medieval Islamic ceramic technology in general, comes from the only known treatise was written in 1301A.D (700 A.H) by Abul’-Qasim Kashani, which is stated that the “seven-colored technology passed into oblivion” by the time of the treatise. The purpose of this study is to determine the chronology of mina’I wares that have been confirmed by the researchers or the famous museums. The results indicate that mina’I wares with dates were produced between 575 and 616 AH during the end of Seljuk and all of kharazmshahid period. Suggested production locals for mina’I are Sava, Rayy and Kashan. While stylistic arguments have been developed the classification of objects to each of these sites but there is little archaeological evidence to support any of the claims. Results on Inscriptions on mina’I bowls point toward the city of Kashan, a leading ceramic center during this period, as their place of manufacture. Furthermore, according to the signature on pottery, the most famous potter in medieval Persia is Abu Zayd Kashani. His manuscript contains complete information includes the names and dates of works construction. Some mina’I signatures pointed also out four tasks such as, making the bowls, painting enamel, scribing and narrating verses. This procedures indict that, probably Master Abu Zayd Kashani has done his works without requiring the other artisans help or even in a specific and personal workshop and away from the other ceramists’ sight. The study focuses on literature review and observing the visual samples. The historical range of the sample and reading the inscriptions evaluate the descriptive-analytical methods.