سیر تحول شکل و تزئینات معماری‌گونه میزهای سفالی شش‌ضلعی دوره سلجوقی در ایران و ایوبیان سوریه

ایران دوره سلجوقی و سوریه دوره ایوبی دو منطقه مهم در تولید آثار سفالی فاخر در قرون ششم و هفتم بوده‌اند. یکی از تولیدات منحصربه‌فرد این دو منطقه میز‌های سفالی کوچک و کوتاهی است که محلی برای قرار دادن اشیا بوده‌ و در تزئین آنها از الگوهای معماری بهره‌برداری شده است. این آثار از تولیدات رایج و مشابه دوره سلجوقی ایران و ایوبیان سوریه به شمار‌ آمده که به دلایل مهاجرت، تجارت و جنگ، تحت تاثیر یکدیگر بوده‌اند، به‌گونه‌ای که تولید میز‌ها در هیچ‌یک از دوره‌های تاریخی مشابه این دو منطقه نبوده است. هدف از انجام این تحقیق آن است که با مقایسه و تطبیق میزهای ایران و سوریه، ضمن پرداختن به شباهت‌ها و تفاوت‌های موجود، سیر تحول میزها از طریق تجزیه‌وتحلیل تزئینات، شکل و نحوه ساخت، موردبررسی قرار داده و به تاثیرپذیری این آثار از یکدیگر پرداخته شود تا از این رهیافت بتوان به شناخت کمی و کیفی و میزان اثرگذاری معماری بر ساخت و تزئین آنها دست ‌یافت. سوال‌های این پژوهش عبارت‌اند از: 1. نقوش به‌کاررفته در تزئینات میز‌های سفالی ایران و سوریه چه هستند؟ 2. شباهت‌ها و تفاوت‌ها بین شکل و تزئینات میز‌های سفالی مناطق ذکرشده کدام‌اند؟ 3. در ساخت شکل و تزئینات میزهای سفالی از چه روش‌هایی استفاده‌شده است؟ پژوهش کیفی است و در حوزۀ روش‌شناسی متکی بر توصیف و تحلیل است. گردآوری اطلاعات به روش کتابخانه‌ای و میدانی صورت گرفته است. در این خصوص، با تکیه‌بر منابع معتبر، چهارده نمونه میز سفالی از موزه‌های داخل و خارج، جمع‌آوری‌شده و موردبررسی قرارگرفته‌اند. جهت تحلیل دو نمونه از میزهای ایران روش میدانی و بازدید مستقیم از موزه‌ سفال و آبگینه تهران انجام‌شده است. تزئینات و ساختار ساده تا پیچیده این آثار مانند تزئینات ساده و کم نقش قالبی تا تزئینات پرنقش و ریز زرین‌فام، ساختار ساده و یک طبقه‌ای میزها تا ساختار پیچیده‌تر و دوطبقه‌ای آنها و لعاب ساده و تک‌رنگ میزها تا لعاب پیچیده و باارزش زرین‌فام، پیشرفت در تحول ساخت میزها را نشان می‌دهد. یافته‌ها مبین آن است که عناصر معماری حضور چشمگیری در تزئین میزها دارند. این میزها شباهت‌های کلی و تفاوت‌هایی در ساختار، تزئینات و لعاب با یکدیگر داشته و در ساخت و تزئین آنها از شیوۀ کاربردی و مهم قالبی استفاده‌شده است.

The Evolution of Form and Architectural Decorations on Hexagonal Ceramic Tapurt in the Seljuk Period of Iran and the Ayyubid Period in Syria

In the study of the evolution of pottery art, the fifth and the sixth centuries are the golden age of this art. The Seljuk era in Iran (Kashan city) and Syria (Raqqa city) in Ayyubid dynasty are two important areas in the production of art works and industries, especially valuable ceramic works in the sixth and the seventh centuries in the middle of the year. The ceramics and pottery art of these two periods reached the highest level of progress; both in terms of structure and variety of motifs. The kings of the Seljuk and Ayyubid dynasties were important patrons of art, artists and craftsmen, and admired them in their courts. The importance of Seljuk period in Islamic art was that it stabilized a more elevated situation in Iran. Ayyubid period was important because it played a transitional role between Seljuk and Mamluk styles and influenced the field of art. One of the unique products of these two eras has been small, low and short ceramic tables (tapurt or tabouret) that were a place for putting vessels such as jugs, teacups and flowerpots on them, and were used in decorating architectural patterns and elements. The low ceramic tables of Iran and Syria come from cultural and traditional civilizations. These works are common and similar productions of the Seljuk period in Iran and Ayyubid dynasty in Syria that war, migration (of artists and scientists), trade and geographical situation (for example Raqqa city in Syria was located near the Euphrates river and has been in connection with Mesopotamia) were the reasons of the similar effects between two regions, and they have been linked in terms of historicalartistic context, and their production in none of the other eras was comparable to these two regions. The Raqqa city was just a center out of Iran’s area that produced notable ceramic vessels and tiles with good quality and new techniques. We can see the influences of Iran and Egypt on these ceramic pieces. The Iranian samples have influenced the Syrian samples. The aim of this study is that by comparing and matching, while dealing with the similarities and differences between tables (tapurts or tabouret) of these two important areas, it has examined the evolution and development of these two areas through analyzing the decorations, forms, the way of construction and the influence of these works to understand the quantitative and qualitative knowledge of construction and their decoration. There is a variety of ceramic tables or tapurts, such as triangular (a stand with three holes on them), rectangular (one of the common and important styles of ceramic stands with two holes on them in Syria) and hexagonal forms, but due to the similarity of hexagonal tables in Iran and Syria, we just focused on hexagonal samples in this research. Here in this research we have three questions: 1 what elements are used to decorate the Iranian and Syrian tables? 2 What are the similarities and differences between the forms and decorations of the Iranian and Syrian tables? 3 Which executive techniques were used for creation and decoration of these ceramic tables? This study is qualitative in method and depends on description and analysis in methodology. Data collection has been done using library research and field study. In this regard, with respect to reliable books and websites, fourteen pieces (six samples of Iranian tables and eight samples of Syrian tables) were collected and analyzed in terms of style, decorations, form and evolution of change. For analysis, two samples of Iranian tables have been studied through field research method and a direct visit to museum (pottery and glassware museum of Tehran). Simple to complex decorations (simple and less embellished to complex motifs), glazes (monochrome and simple glazes to complex and valuable glazes like luster), elements of architecture (columns, balustrade, mihrab, muqarnas and arch) and techniques of structures of these works (simple to complex molding, like twostorey tables) show progress in the evolution of tables. This study shows that these tables have general similarities and differences in structure, decoration and glaze. Regarding structure and decoration of tables, the applied molding technique and architectural elements (like mihrab, muqarnas, columns, twostorey structure and others) are bold and important in decoration. According to the architectural elements of each region, structure and decoration of tables have been inspired by them. The use of arcuate elements and others like mihrab, muqarnas, column, grating and inscription have had the most impact on structure and decoration of tables in both regions to the extent that studying these tables and the elements on them can be an analytical subject for analyzing architectural elements in these two regions and for fixing the possible defects in the path of architectural analysis.