تعمیم‌پذیری نظریه باورهای آخرالزمانی در تفسیر نقوش سفال نیشابور

سفال سامانی که منسوب به قرون سوم و چهارم هجری است، شباهت ترسیمی بسیاری با آثار ساسانیان دارد. نحوه‌ نقاشی چهره ها و اجزای پیکره ها، ترکیب بندی برخی آثار شاخص و شماری ویژگی های تزیینی دیگر، سفال نیشابور را از نظر محققان تاریخ هنر، دنباله‌ منطقی هنر ساسانی در نخستین سده های اسلامی جلوه داده است. هنگامی که خوانش مفهومی از نقوش، تابعی از همین گزاره می شود، تعمیم پذیری نظریه‌ کلی «تاثیرپذیری هنر اسلامی از هنر ساسانی»، به واسطه‌ برخی آثار مخدوش می شود. با نادیده گرفتن سهم هنر ساسانی در تحلیل نقوش، برخی دیگر از آثار از دایره‌ اعتبارسنجی نظری حذف می شوند. اهمیت، ضرورت و هدف این مقاله را اصلاح وضعیت نظریه‌ فوق، شرح می دهد. سوال اصلی پژوهش این است که در مورد سفال نقاشی شده‌ سامانی نیشابور، چه نظریه ای می توان پیشنهاد نمود که بتواند تعمیم پذیری مطلوب تری از نظریه های موجود داشته باشد؟ روش تحقیق، ترکیبی از روش های توصیفی، تاریخی و داده بنیاد یا زمینه ای است. نتایج پژوهش نشان می دهد در تنوع موضوعات و مقولات مفهومی نقوش، ترسیم یک سپهر نظری از مفهوم آخرالزمان، می تواند جامع ترین پاسخ به پرسش از چرایی وجود آثار نیشابور در سده های سوم و چهارم هجری باشد.

the generalizability of the apocalyptic belief theory in interpreting the motifs of nishapur pottery

samani pottery, which is attributed to the 3rd and 4th centuries of hijri, has many drawing similarities with sasanian works. the way of painting the faces and parts of the figures, the composition of some significant works, and several other decorative features, according to art history researchers, make nishapur pottery a logical sequence of sasanian art in the first centuries of islam. when the conceptual reading of motifs becomes a function of this statement, the generalizability of the general theory of the influence of islamic art from sasanian art is distorted by some works. by ignoring the contribution of sasanian art in the analysis of motifs, some other works are excluded from the circle of theoretical validation. wilkinson’s careful attention to the artistic legacy of pre-islamic iran for samani pottery was gradually approved by the researchers after him, and the research assumptions were based on this theoretical foundation. the main criticism of this range of research was ignoring the centuries-old ideological developments of muslim and even non-muslim iranians, which appeared in the iranian cultural return movement in the form of a plurality of islamic sects and superstitions. it can be said that this was a research deviation from the followers of wilkinson’s theory that the sasanian influence was emphasized as if it made nishapur pottery a part of the artistic achievement of the sasanian era in the post-sasanian era. with the explanation that all figures and animals were considered symbols with sassanid meanings and thus, a significant part of the works could not be interpreted with this theory. on the other hand, recently, various content readings of the role have been presented by some other researchers who ignored the theory of the influence of sasanian art and turned to different phenomenological or historical interpretations. a serious criticism of such studies is the non-generalizability of theories to the variety of animal and physical compositions. in such a way that each interpretation can finally cover the works with visual characteristics and composition similar to its case example. in this research gap, establishing a theory that can correct the established theory and cover the themes of all the works is the main goal of the research. the operational plan of the research is as follows: first, various data, including visual, audio, and citation data, are collected and categorized, and after coding, categorization, and extracting central concepts. the importance, necessity, and purpose of this article explain the correction of the above theory.