بررسی و تحلیل نقوش پرنده سفالینه‌های اسلامی نیشابور با پرندگان موجود در زیست‌بوم منطقه

با مشاهده مقالات منتشر شده در حوزه سفالینه‌های نیشابور به‌روشنی می‌توان دریافت که بسیاری از این مقالات بر روی تاثیر این نقوش از آثار و مفاهیم نمادین از جمله منظومه منطق‌الطیر عطار متمرکز شده‌اند اما آیا سفالگر نیشابوری هنگام تزئین اثر خود تنها متاثر از اینگونه آثار بوده است؟ آیا وجود انواع گونه‌های مختلف پرندگان در زیست بوم منطقه) باعث تاثیرپذیری هنرمند در منقوش نمودن ظروف سفالی خود با نقش پرنده نداشته است؟ با طرح این پرسش‌ها با انجام یک پژوهش از نوع توصیفی تطبیقی سعی شده است تا با بازطراحی انواع نقوش بکار رفته در تصاویر ظروف سفالی منتشر شده و مقایسه ویژگی‌های ظاهری آن‌ها و گونه‌های مختلف پرندگان موجود در منطقه، تاثیر زیست‌بوم در تولیدات سفالی نیشابور نشان داده شود. در این پژوهش با بررسی سفالینه‌ها بیش از 29 نقش شناسایی گردید. بعد از مطالعه ویژگی‌های ظاهری نقوش و مقایسه آنان با گونه‌های مشابه مشخص گردید که تمامی نقوش در غالب 8 راسته و 23 گونه مختلف قرار دارند از این بین حجم عمده مربوط به پرندگانی است که عموما در مناطق مسکونی زیست و پرورش دارند و انسان ارتباط نزدیکی با آنان دارد. از نکات مهم نبود هیچ‌گونه پرنده شکاری در بین نقوش مورد بررسی است.

Study and Analysis of bride figure the Islamic pottery of Nishapur with birds in the ecosystem of the region

By observing the articles published in the area of Nishapur pottery and especially the decorative patterns of this type of Islamic pottery, which is among the works of art of the Islamic era of Iran, it can be easily seen that many of these papers and studies on the effect of these designs on symbolic works and concepts And the mysteries of the logical system are focused, but was the pottery maker Nishapur when decorating its handmade only influenced by the magic and mysterious works? Did there be any variety of birds around the artist living in his ecosystem that he encountered on a daily basis did not affect his ability to design and catalog his pottery with the role of a bird? By analyzing these questions, an analytical approach has been attempted to investigate the hypothesis that there are good biological conditions for migratory and nonmigratory birds in general in the great Khorasan, and in particular in the Nishapur area, it seems that the Nishapur potter In addition to the symbolic concepts, it was also affected by the creation of motifs from the types of birds present in its environment, and attempted to design images of any type of bird to be observed with its natural features on the pottery, by redesigning the types of patterns used in clay dishes In the book & early Islamic pottery of Nishapur& Compilation to Charles Wilkinson’s Leaf Characteristics and the comparison of their apparent features and species of birds in the nature of the region as well as their biological domains, the impact of the ecosystem on the artwork of Nishapur (including bird motifs). In this research, using a descriptivecomparative method, we have tried to study the information of the pictures of pottery published in the book &Islamic early pottery of Nishapur & written by Charles Wilkinson. In this research, the role of the bird on the pottery has been redesigned with the help of design software, and in order to carry out comparative studies, designed motifs with images of birds species published in the books, are placed inside a table and in addition to the comparison. By studying the pottery in the book, more than 29 roles were identified that were not repeated and showed different characteristics of certain species of the bird. After studying the features of the motifs and comparing them with similar species, it was determined that all motifs were dominated by 8 orders and There are 23 different species, among which the major volume is related to birds that are generally able to live and live in residential areas and people have close links with them. Importantly, no bird was found among the motifs. However, on the Sassanid artistic productions, most of the birds’ motifs have been used. In addition, in the ecosystem of the region, there are a variety of bird species that their motifs In the Sassanid period and in works such as the Masnavi, the allegory of the Almightyar of Attar has been used.