تنوع نگرش در طراحی پرندگان (قرن4 تا 7 ه.ق) در سفالینه های تبرستان، جرجان و دیلمان

مطالعه در طراحی پرندگان ترسیم شده و واکاوی در ترکیب‌بندی نقوش سفالینه‌های سه استان شمالی ایران و توجه به علایق و باورهای مشترک و هم‌جواری استان‌ها، سبب تنوع نگرش‌ها و وجوه اشتراک و افتراق همراه با بُعد زیبایی‌شناسی شده است؛ تا جنبه‌های پنهان عناصر دیداری را آشکار کند. از این رو، مطالعه 9 نمونه سفالینه با هدف تبیین و ارزیابی انواع شیوه‌های طراحی و واکاوی در تنوع ترکیب‌بندی نقوش پرندگان، این سوال را مطرح نموده که، نحوه نگرش در طراحی و ترکیب‌بندی نقوش پرندگان (قرن4 تا 7 ه.ق.)در سفالینه‌های تبرستان، جرجان و دیلمان چگونه است؟ روش تحقیق، توصیفی تحلیلی است و گردآوری اطلاعات، اسنادی و میدانی می‌باشد. روش تجزیه و تحلیل با دیدگاهی زیبایی‌شناختی در روش طراحی و تمرکز در عناصر بصری است. نتایج تحقیق نشان داده است که، نقوش پرندگان با سه نگرش واقع‌گرایانه، فراواقع‌گرایانه و انتزاع‌گرا طراحی شده‌اند. طراحی واقع‌گرایانه به دلیل اقتباس مستقیم از طبیعت، عاری از خلاقیت و ارزش بصری بوده و طراحی فراواقع‌گرایانه علاوه بر ایده خلاق، مبتنی بر اغراق در اجزا و تخیل است و در نگرش انتزاع‌گرا، توجه به شیوه بنیادی و مبتنی بر جوهره درونی می‌باشد. ترکیب‌بندی سفالینه‌های تبرستان همواره از نوع متقارن، نامتقارن، منتشر و دایره‌ای است؛ اما سفالینه‌های جرجان و دیلمان به ترتیب از نوع منتشر و متقارن می‌باشند.

The Variety of Attitudes in the Motif of Bird (4th to 7th Century A.H.) in Tabarestan, Jorjan, and Deilaman Pottery

The applied arts and decorative motifs painted on them have been the most important tools for transmitting culture as well as artistic and conceptual traditions among ancient nations, which in addition to messaging, have a variety of shapes and forms and a variety of combinations. In the meantime, one of the most important motifs that have always been considered and its usage has continued with the change of rituals and artistic developments, is the very important motif of birds in terms of design and content, used in various arts, especially pottery. This study aims to explain and evaluate the types of bird drawing and analysis methods in the composition of discovered potteries in three regions of Tabarestan, Deilaman, and Jorjan. The present study seeks an answer to the following question: What is the attitude in designing and combining bird motifs in Tabarestan, Jorjan, and Deilaman potteries? To study and survey nine samples of pottery (with the motif of birds), related to the 4th to 7th centuries A.H. (after Hijrat) have been selected. The motif of birds on the potteries of Jorjan and Tabarestan regions has more diversity compared to Deilaman potteries. Exaggeration in the appearance of birds, lack of proportion in design, simplification, and magnification in some parts of the body and more dynamism and movement of the bird form compared to the other two regions are the most important features of the motif of birds in Jorjan region. In the Tabarestan region, these motifs have been represented in various forms and special methods such as abstraction and simplification and sometimes being close to nature. It is noteworthy that these features distinguish it from the drawings of Jorjan and Deilaman regions. In the Deilaman region, all the studied figures have been designed and built in the form of realism and natural sizes. The proximity of the bodies to their true nature, disproportionate and unbalanced exaggerations in the head, neck, and body of the bodies of the figures are the characteristics of the motif of the bird in this region. At the same time, the artist’s attention to the bird’s appearance has sometimes prevented him from paying attention to the formal aesthetics and visual language content. However, this attitude is observed in the design, not in all figures, but most works.  The research method in this study is descriptive and analytical and gathering the data and information has been accomplished through field and library study. The results show that in line with the images studied, three methods of realistic, metarealistic, and abstract design have been revealed. Realistic motifs are devoid of any creativity and visual value due to their adaptation of nature, and the emphasis on more detail in the actual shape of the bird’s body and its natural dimensions and size, as well as the artist’s close connection with nature, is very evident.  While in the unrealistic motifs, the artist’s imagination is perceivable in depicting the motif of the bird and the exaggeration of its components, in which the inner sensitivity, emotions, and imagination are obvious. Also, in the abstract approach, the motifs are based on the basic essence of the forms and the visual value hidden in these works is based on a kind of aesthetics and is not easily understood. The motifs are inspired by nature and the environment around them, but the artist changes it with his imagination and taste so much that he creates an abstract role of nature. On the other hand, in this attitude, there is less of a sign of reality and visual aesthetics is gained instead. The concepts between lines and colors are the same; to understand it, every viewer must rely on their perceptions. In analyzing the types of composition in these pottery works, we are faced with various types of compositions such as symmetrical, asymmetrical, diffused, circular, and radial, the most common example of which is related to the Tabarestan region. In Jorjan province, the diffuse component is very obvious, and in the Deilaman region, all the studied samples have symmetrical composition.