پژوهشی در ضرب اهنگ کتیبه‌های سفالینه‌های نیشابور تا سده 6 ه.ق.

موسیقی، به‌عنوان یک هنر شنیداری، حاصل قرارگیری و تکرار نت‌ها در بُعد زمان، و خوش‌نویسی به‌عنوان یک هنر دیداری، حاصل قرارگیری و تکرار عناصر بصری در بُعد مکان است. پیدا کردن حلقه اتصال و یا برابرنهی دو اثر از این دو هنر، موضوعی غامض به‌شمار می‌رود. نمونه‌های متعدد الهام گرفتن از آثار دیداری و خلق اثری شنیداری وجود دارد؛ اما جای یک روال منطقی برای این موضوع خالی است. هدف پژوهش، رسیدن به روشی برای کشف ضرب‌آهنگ در آثار هنری دیداری و تبدیل آن به آثار شنیداری آهنگین بوده است. برای بررسی این موضوع، کتیبه‌های سفالینه‌های نیشابور در سده‌های 1 تا 6 هجری، به‌سبب دارا بودن سبک مشخص و ویژگی‌های شاخص هنری، به‌عنوان جامعه آماری اصلی برای مطالعه انتخاب شده و مورد بررسی قرار گرفته‌اند. پرسش اصلی پژوهش این بوده است که: چگونه می‌توان برای یک اثر دیداری، برابرنهاد شنیداری خلق نمود؟ این پژوهش، به شیوه تطبیقی انجام شده و هدف کاربردی آن، بررسی و معرفی روشی تخصصی برای استخراج ضرب‌آهنگ نقوش از آثار نوشتاری و تبدیل آن‌ها به قطعات آهنگین بوده است. نتایج بررسی‌ها نشان می‌دهد نقوش خوش‌نویسی به‌کار رفته در تزیین سفالینه‌های نیشابور دارای ضرب‌آهنگی هستند که از طریق روش‌های کدگذاری و نت‌نویسی به‌کار رفته در این مقاله می‌توانند به اصوات قابل شنیدن تبدیل شوند. با تکیه بر دستاوردهای این پژوهش می‌توان روش به‌کار رفته را با تغییرات متناسب با موضوع، به سایر هنرهای تجسمی نیز تعمیم داده و به خلق قطعات آهنگین برابرنهاد برای آثار دیداری پرداخت.

A Study on the Rhythm of the Inscriptions on Potteries in Nishapur until the 6th Century AH

As an auditory art, Music results from the placement and repetition of notes in the temporal dimension; and, like visual art, Calligraphy results from the placement and repetition of visual elements in the spatial dimension. Therefore, to find a common ground between, or to equate two pieces of, these two artistic fields with each other is indeed a convoluted matter within which some challenges reside. There exist instances of being inspired by a visual piece of art and creating an auditory one; nevertheless, a logical procedure by means of which to proceed with this matter is verily missed. In the first step, finding similar substantive aspects in two works of art is the most important part of this process. The second step is to achieve a functional intermediate language to create a logical connection between the elements that in this study, innovative coding was able to create this connection. In a thematic classification, different pottery in terms of shape, construction, decoration, and color can be divided into the following categories: 1) colorless pottery 2) glazed pottery 3) black and whitecoated pottery 4) pottery with Decorating. The main part of Nishapur pottery comprises pottery with an inscription in Kufic script which is the main subject of this research. This research is based on the fact that rhythm in any musical work is the result of repeating beats over time and in each visual work is the result of repeating visual elements in two or three dimensions. In the study of calligraphy texts on utensils, each vertical movement is equivalent to a ¬e& or percussion on the strings of an instrument. On the other hand, horizontal letters and elongations also perform the act of connecting between blows and show how it is done. Thus, the first thing that evokes rhythm is the way in which letters and words are repeated and changed, or in other words, the &composition& of letters, words, and finally sentences. In other words, what was studied in this study was not the letters as alphabetical elements, but their &letters as a visual form&. The canonical issue of the present study is achieving a method by which to discover the rhythm in the works of visual art and turning it into harmonious works of auditory art. To inspect this matter, the inscriptions on potteries in Nishapur from the 1st up to the 6th Century A.H. have been inspected and selected as the main statistical population due to their specific style and preeminent artistic characteristics. They are 140 utensils that &Abdollah Ghouchani& has introduced in the &Nishapur Pottery& book. One of the graphic works done to analyze the shape of calligraphy was the linearization of circular texts. According to historical documents, many schools in Nishapur were operating at the time of the construction of these vessels, and wellknown and reputable teachers taught various subjects to students. The quality of the lines used in the decorations also shows that the creators of the works were literate and had a deep understanding of composition in the visual arts. The main question of the present study is as follows, how can one create an auditory equivalent for a visual work of art? This study has been a comparative one whose applied objective is to inspect and introduce a technical method by the virtue of which to elicit the rhythm of the motifs from written works of art, turning them into harmonious pieces of music. The results of the investigations show that the calligraphic motifs used in the decoration and ornamentation of Nishapur potteries do have a rhythm that can turn into fully audible sounds by means of the methods of coding and notation utilized in this study. With reference and regard to the achievements of the present study, if the changes that each specific subject demands are applied, the method which has been utilized can be further generalized to other Visual Arts, resulting in the creation of harmonious pieces which are equivalents for visual artistic creations.