تحلیل پارادایمی نظریه در روش مطالعات بصری سفال منقوش نیشابور

نظریه ی غالب در روش و فرضیات مطالعات بصری سفال نیشابور «تاثیر هنر ساسانی بر هنر اسلامی» است. در این میان شماری از تحقیقات نیز که بیشتر جنبه ی تفسیری دارند، به تاثیرات معاصر و اسلامی آثار توجه داده اند. تحلیل پارادایمی نظریه در پژوهش های موجود از سفال منقوش نخودی نیشابور، با هدف تبیین و تحلیل وضعیت نظریه در روش تحقیق آن ها انجام می شود. پرسش اصلی تحقیق این است که در مطالعات گوناگون درباره ی سفال منقوش نیشابور پس از ویلکینسون، تفاوت های پارادایمی، چه تغییری در نتایج ایجاد کرده است؟ روش تحقیق، توصیفی-تحلیلی است. تعداد 10 مقاله یا پایان نامه با موضوع تحلیل بصری سفال منقوش نیشابور به شکل هدفمند انتخاب شده است. تحلیل مطالعات نشان می دهد هرگاه محقق از روش ها یا تمهیدات تحقیقی کمی با گرایش های اثباتی به مساله نگریسته است، نظریه ی جدید پدیدار نمی شود. در سوی مقابل پژوهش هایی که بی اعتنا به نظریه وارد تفسیر شدند، قابلیت نظریه سازی یافته و تنوع نتایج مشهود است. در باب وضعیت نظریه در سفال منقوش نیشابور، نظریه ی تاثیر هنر ساسانی و به طور کلی نقاشی پیش از اسلام ایران در بخش شکل یا فرم قابل تایید است. اما در بحث معنایی و محتوا، خلا تاسیس نظریه ی مستقل وجود دارد که بتواند تمامی تفاسیر معنایی را پوشش دهد.

paradigmatic analysis of the theory in the method of visual studies of nishapur painted pottery

paradigmatic perception in research method, especially in the field of art, might have no practical relevance. the art researcher mainly starts her work by describing and at the end, she records and publishes her analysis and understanding of the &relationships& in the variables. in the meantime, various methods are adopted, which may not necessarily have a paradigmatic basis from the researcher’s side. analyzing conflicting researches in a field, in terms of paradigmatic and theoretical roots, may not be considered useful. because extracting various and sometimes conflicting results from a subject has been an inherent feature of qualitative and interpretive research. nevertheless, it seems that it is possible to study and analyze the theory or theories governing research on a topic in this way. on the other hand, painted pottery of nishapur, due to its visual and conceptual appeal, has been the target of studies by many researchers with diverse interests. some have paid attention to the visual and formal characteristics of its motifs, and others have played a role in finding hidden meanings and stories. the dominant theory in the method of visual studies of nishapur pottery is &the influence of sasanian art on islamic art&. in other words, the form and sometimes the nishapur painted ware’s content was indebted to sasanian art and the result of the reproduction of pre-islamic culture in the third and fourth centuries of hijrah. in the meantime, a number of researches, which are more interpretative, have given a multiplier to the contemporary and islamic effects. paradigmatic analysis of existing researches on the subject of nishapur pottery is done with the aim of explaining the place of theory in the research method. the main question of the research is, which of the various articles about nishapur inscribed pottery after wilkinson can be classified in the proof paradigm and which in the non-proof paradigm? the research method is descriptive-analytical. a result that comes from this paradigmatic analysis is the reflection on the essence of art history research. the text of history is based on evidence and historical phenomena. works of art are one of the most important phenomena of history that create historical knowledge. on the other hand, art history always faces the danger of falling into the abyss of proving repetitive theories such as the theory of influence or the vicious circle of provenance. the analysis of the studies shows that when the researcher looks at the problem from quantitative methods or a positive approach, no new theory emerges. however, the researches which include the interpretation without being constrained in any kind of theory have the ability to develop theory and a diversity of results. regarding the status of the theory in nishapur’s engraved pottery, the theory of the influence of sassanid art and in general the pre-islamic painting of iran is confirmed in the shape part. but in the discussion of semantics and content, there is a gap to establish an independent theory that can cover all semantic interpretations.