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

Document Type : Research Paper

Author

Assistant Professor of Handicrafts Department, Faculty of Arts and Architecture, University of Mazandaran, Babolsar, Iran

Abstract

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 white-coated 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 "note" 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 well-known 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.
 
 

Keywords

References

آلیاری، حسین(1373). نظامیه در عهد نظام الملک، دانشکده ادبیات و علوم انسانی دانشگاه تبریز، دوره 37، شماره 151 و 152، 1-12.
ابن خلکان، شمس‌الدین ابوالعباس قاضی احمد بن محمد(1971). وفیاتِ الاعیان و انباء ابناء الزمان ممّا ثبت بالنَقلِ والسَماع وأثبتهُ العِیان، جلد 4، بیروت: دار صادر.
احمدپناه، سیدابوتراب(1380). زیبایی‌شناسی نقوش سفال نیشابور، هنرنامه، دوره 4، شماره 12، 4-27.  
افضل‌طوسی، عفت‌السادات و فرضی، روناک(1393)، تأثیر موسیقی بر سبک‌های گرافیک(مطالعه موردی: طراحی جلد آثار موسیقایی)»، جلوه هنر، دوره 6، شماره 2، 33-49.
السُبکی، تاج‌الدین(1413). طبقات الشافعیه الکبری، جلد 3، مصر: هجر للطباعه والنشر والتوزیع.
الق‍ش‍ی‍ری‌، ع‍ب‍دال‍ک‍ری‍م‌ب‍ن‌ ه‍وازن(1345). رساله قشیریه، ب‍دی‍ع‌ال‍زم‍ان‌ ف‍روزان‍ف‍ر، تهران: بنگاه ترجمه و نشر کتاب.
اوکویرک؛ استینسون؛ ویگ؛ بون و کایتون(1393). مبانی هنر:  نظریه و عمل، محمدرضا یگانه دوست، چ. دوم، تهران: سمت.
رشیدی، صادق(1390). نشانه شناسی موسیقی تعزیه، تهران: جهاد دانشگاهی.
ریاضی کشه، محمدرضا(1371). نیشابور از دیدگاه باستان‌شناسی، باستان شناسی و تاریخ، دوره 6، شماره11 و 12، 20-30.
ساعی، علی(1392). روش پژوهش تطبیقی با رویکرد تحلیل کمی، تاریخی و فازی، تهران: آگاه.
شادکام، علی(1395). مطالعه تطبیقی موسیقی ردیف دستگاهی ایران با معماری ایرانی در دوره اسلامی (مطالعه موردی مسجد جامع ورامین)، پایان نامه کارشناسی ارشد پژوهش هنر، دانشگاه سمنان.
صفا، ذبیح‌الله(1369). تاریخ ادبیات در ایران از میانه قرن پنجم تا آغاز قرن هفتم هجری، جلد2، تهران: فردوس.
قنبری، محمدرضا(1386). نگاهی به مکتب خانه در ایران، فرهنگ مردم ایران، دوره 2، شماره 9، 119-139.
قوچانی، عبدالله(1364). کتیبه‌های سفال نیشابور، تهران: موزه رضا عباسی.
کانت، ایمانوئل(1381). نقد قوه حکم، ترجمه عبدالکریم رشیدیان، چ. دوم، تهران: نی.
کنگرانی، منیژه(گردآورنده)(1388). مجموعه مقالات دومین و سومین هم اندیشی هنر تطبیقی، تهران: فرهنگستان هنر.
مصاحب، غلامحسین(1381). دایره المعارف فارسی، چ. دوم، تهران: امیرکبیر.
منصوری، پرویز(1376). تئوری بنیادی موسیقی، چ. سوم، تهران: کارنامه.
منظم، ترکان(1386). بررسی تطبیقی موسیقی و نقاشی در نگارگری‌های مکتب دوم تبریز، پایان‌نامه کارشناسی ارشد نقاشی، تهران: دانشگاه الزهرا.
نامور مطلق، بهمن(1389). دانش‌های تطبیقی، تهران: سخن.
وجدانی، بهروز و قیطاقی، مجتبی(1397). موسیقی بومی و مقامی نواحی خراسان. تهران: پژوهشگاه میراث فرهنگی و گردشگری.
Beard, D. & Gloag, K. (2005). Musicology: The Key Concepts. Routledge.
Lipscomb, S. D. (1995). Cognation of Musical and Visual Accent Structure Alignment in Film and Animation, University of California.
Nietzsche, F. (1967). The Birth of Tragedy, The Case of Wagner, Translated to English by Walter Kaufman. New York: Random House.
 
References
Afzaltousi, E.; Farzi, R. (2015). The Influence of Music Genre on The Related Graphic Design, JELV - Y- HONAR , 6(2), 33-49(Text in Persian)
Ahmadpanah, A. (2001). Aesthetics of Neishabour Pottery Patterns, Honarnameh, 4(12), 27-4 (Text in Persian).
Aliari, H. (1994). Nezamiyeh in the Era of Nizam Al-Mulk. Journal of Persian Language and Literature University of Tabriz, 37(151 & 152) 1-12 (Text in Persian).
Al-Qushayrī, A. (1966). Resaleye Qosheyreyya, (Forouzanfar, B. trans.) Tehran: Book Translation and Publishing Company (Text in Persian).
Al-Subki, T. (2009). Tabqat Al-Shafi'iyyah Al-Kubra, vol.3, Egypt: Hijral Tabaye va Nashre elTozee
Beard, D.; Gloag, K. (2005). Musicology: The Key Concepts. Routledge.
Ghanbari, M. (2007). A look at Maktab-Khane in Iran. Iranian Folklore Quarterly, 2(9), 139-119 (Text in Persian).
Ibn Khalkan, S. (1971). Wafayāt Al-aʿyān Wa Anbāʾ Abnāʾ Az-Zamān, vol.4 (1st ed), Beirut: Dar Sader (Text in Persian).
Kant, I. (1790). Critique of Judgment, (Rashidian, A.K. trans.), (2nd ed), Tehran: Ney (Text in Persian).
Lipscomb, S. D. (1995). Cognation of Musical and Visual Accent Structure Alignment in Film and Animation, California: University of California.
Mansoori, P. (1997). Fundamental Theory of Music, (3rd ed), Tehran: Karnameh (Text in Persian).
Monazam, T. (2008). Contrastive Analysis Of Music And Painting In Second Style Of Tabriz School, M.A. Thesis in Painting, Faculty of Art, Alzahra University (Text in Persian).
Mosaheb, G. (2002). The Persian Encyclopedia, (2nd ed), Tehran: Amirkabir (Text in Persian).
Namvar Motlagh, B. (2010). Comparative Knowledge, Tehran: Sokhan (Text in Persian).
Nietzsche, F. (1967). The Birth of Tragedy, the Case of Wagner, (Kaufman, W. trans.) New York: Random House.
Okwirk; Stinson; Whig; Boone; Cayton. (2014). Art Fundamentals: Theory & Practice, (Yeganehdoost, M.R trans.) (2nd ed), Tehran: SAMT (Text in Persian).
Quchani, A. (1985). Neishabour Pottery Inscriptions, Tehran: Reza Abbasi Museum (Text in Persian).
Rashidi, S. (2011). Semiotics of Taziyeh Music, Tehran: Academic Center for Education, Culture and Research (Text in Persian).
Riyazi Kesheh, M. (1992). Neishabour from the Point of View of Archeology, Journal of Archeology and History, 6(11 & 12), 20-30 (Text in Persian).
Saei, A. (2013). Comparative Research Method: With Quantitative, Historical and Fuzzy Analysis Approach, Tehran: Agah (Text in Persian).
Safa, Z. (1990). History of Literature in Iran from the Middle of the Fifth Century to the Beginning of the Seventh Century A.H., vol. 2, Tehran: Ferdows (Text in Persian).
Shadkam, A. (2016). A Comparative Study of Persian Classical Music (Radif) and Persian Architecture in Islamic Era (Case Study: Varamin Great Mosque), M.A Thesis in Art Research, Faculty of Art and Architecture, Semnan University (Text in Persian).
Vojdani, B.; Qeitaghi, M. (2018). Folk and Regional Music of Khorasan. Tehran: Research Institute of Cultural Heritage & Tourism (Text in Persian).
 

Files

Share

How to cite

Statistics