year 8, Issue 27 (5-2024)
Parseh J Archaeol Stud 2024, 8(27): 197-224 |
Back to browse issues page
Download citation:
BibTeX | RIS | EndNote | Medlars | ProCite | Reference Manager | RefWorks
Send citation to:
BibTeX | RIS | EndNote | Medlars | ProCite | Reference Manager | RefWorks
Send citation to:
Beik-Mohammadi N, Salehi Kakhki A, Zarei M E. (2024). Re-Interpretation Illustrated Polychrome Decoration Under Transparent Glaze Attributed to Neishabur (Based on Ethnoarcheaology). Parseh J Archaeol Stud. 8(27), 197-224. doi:10.22034/PJAS.8.27.197
URL: http://journal.richt.ir/mbp/article-1-813-en.html
URL: http://journal.richt.ir/mbp/article-1-813-en.html
1- Ph.D. student in Archeology, Department of Archeology, Faculty of Conservation and Restoration, Art University of Isfahan Isfahan, Iran.
2- Professor, Department of Archeology, Faculty of Conservation and Restoration, Art University of Isfahan, Iran ,salehi.k.a@aui.ac.ir
3- Professor, Department of Archeology, Faculty of Art and Architecture, Bu-Ali Sina University, Hamadan, Iran
2- Professor, Department of Archeology, Faculty of Conservation and Restoration, Art University of Isfahan, Iran ,
3- Professor, Department of Archeology, Faculty of Art and Architecture, Bu-Ali Sina University, Hamadan, Iran
Abstract: (1433 Views)
Abstract
In the study of slipware colorful pottery, it has always been the focus of various researchers due to its unique motifs. During the past few decades, researchers have studied the patterns of the above pottery with different approaches. Despite the researches that have been carried out in the direction of rereading and interpreting the motifs, there are still ambiguities and challenges. One of the challenges in the interpretation of Polychrome decoration under transparent glaze pottery patterns is the illustrated illustration on a plate that is kept in the Nelson Atkins Museum of Art. In their research, according to historical texts, researchers have presented different opinions regarding the role of the above plate, and it is believed that their interpretations have fundamental problems. It seems that the study of historical texts alone is not a solution to the interpretation of the above illustration, and interdisciplinary science studies should be used to investigate the illustration of this container in a separate research using ethno-archaeological studies. Study and review. In this research, the Authors are of the opinion that by following the archetypes in the geographical context of the production of Polychrome decoration under transparent glaze pottery, the study scope of which includes the Khorasan region; to study the illustration of the plate, in order to achieve this goal, the Authors have used ethnographic studies and historical documents to interpret it. The research method of the upcoming research is a library with a comparative historical-analytical approach. In line with the above goal, questions such as what is the concept of the illustration of the colorful goblet plate? It has been proposed to what extent ethno-archaeological studies can be applied in the interpretation of the illustrated illustration on this dish. The result of the comparative research of ethno-archaeological studies and historical documents is that the theme of the illustration engraved on the plate is the ritual ceremony of asking for rain and water from the goddess Anahita and Tishtar, which is held today in the Khorasan region with changes in the way the ceremony is performed.
Keywords: Pottery, Neishabur, Polychrome Decoration Under Transparent Glaze, Ethnoarcheaology, Asking for Rain.
Introduction
Polychrome decoration under transparent glaze pottery was produced in the 3rd and 4th centuries AH and parallel to the Samanian rule in northeastern Iran, which are very prolific and diverse in terms of motifs. A samples of these pottery is kept in the Nelson Atkins Museum of Art. By analyzing historical texts, researchers have proposed interpretations for the illustration engraved on this plate. Despite the studies conducted with different approaches by different researchers, there are still uncertainties about the identity of human motifs. Therefore, it is necessary to investigate and analyze the identity of the human motifs depicted on the plate in a separate research using ethno-archaeological studies along with reviewing historical texts. Therefore, the aim of the Authors in this research is to study the illustration of plate by examining historical texts and archetypes in the geography of the production of Polychrome decoration under transparent glaze pottery, the scope of which includes the Khorasan region.
In the background of the plate, there are nested circles in black with oval motifs and blue-green with circular motifs. The central motifs are three human body performing a special ceremony. The two human body have two two-branched wings on their shoulders, which are hanging down, and according to the clothes they are wearing, their gender can be distinguished as male and female. On the left side of the central body, the role of a small human body with a strange face of incomplete creation is depicted. Between the central man and the body on the left, the motif of a bird with its head turned back and a multi- petaled flower, possibly a lotus, can be seen.
The Role of a High-Ranking Lady
One of the motifs of the plate shows the role of a high-ranking lady sitting on a chair. The high-ranking lady is probably a symbol of the gods believed by the people of the third and fourth centuries due to the presence of two pointed two-branched wings on her shoulders. It seems that the goddess with the rhyton in her hand is probably one of the gods associated with water.
A High-Ranking Man
The motif of a high-ranking man depicted on a Polychrome decoration under transparent glaze plate attributed to Neyshabur, like the motif of the goddess, is probably a symbol of the gods believed by the people of the third and fourth centuries due to the presence of two pointed two-branched wings on the shoulders. The male god is probably related to the water gods because he is next to the water goddess Anahita.
Plant Motifs
The lotus flower is called Abzad flower or the flower of life and creation in Farsi. Since this flower is related to water and in ancient traditions, the lotus flower was considered to be sacred and related to Anahita. Illustrated plant motifs on a Polychrome decoration under transparent glaze plate attributed to Nishapur, the plant pattern of the seat of the female deity, as well as the plant motifs around the body of the male deity and the ten-petaled flower between the male deity and a small human body by comparing the actual sample of the bud and the lotus flower and the obvious similarity with It is probably a symbol of the lotus flower.
Bird
On a Polychrome decoration under transparent glaze plate, the motif of a bird is drawn above the head of the male deity and the motif of a small human with his head turned back. The bird is probably a rooster symbol due to the abstract tail, several feathers on the body and also the crown on the head.
A Small Human Body
A small human body with a strange, imperfectly formed face, with eyes stretched vertically downwards, with open hands around him and a mouth on his cheek. to inspire a symbolic concept of him to the viewer. The small human role cannot be interpreted with the myth of Tishtar and Anahita; because there is no mention of its identity in opposition to the above gods in historical texts. Inevitably, in order to identify the identity of the small human role that can be referred to as the missing link and in the archetypes of the water myth, it was investigated in the geographical context of the production of Polychrome decoration under transparent glaze pottery attributed to Nishapur in the Khorasan region.
Conclusion
The result of the analyzes that were carried out in line with the proposed questions was that the scene of the celebration depicted on the plate was probably the narrator of the ritual ceremony related to water and rain among the people of the 3rd and 4th centuries in Nishapur. This result was obtained by identifying the patterns of the components of the plate with historical evidence and ethno-archaeological studies. Which could be identified with the identification of two human roles using historical texts with two wings and symbols such as lotus flower, rhyton, and cow horn hat. They were the gods Tishtar and Anahita. For the identification of the small human body with an ugly face, which gave the viewer a superhuman personality, the results of ethno-archaeological studies were also used by following its archetype in myths; Because she was assumed to be an ugly doll and also because she was placed next to the beautiful gods Anahita and Tishtar, she was matched with the ugly Qazak Chuli doll or the Opush demon in the Khorasan region with the ritual ceremony of asking for rain. The rooster is also depicted in opposition to the gods Anahita and Tishtar, and the doll symbolizing the demon Opush, a symbol of Sorush, which destroys the demonic forces of Opush. Therefore, according to the identification of motifs and their symbolic interpretation, the theme of the illustrated illustration on a Polychrome decoration under transparent glaze plate is related to the ritual ceremony of asking for rain in the 3rd and 4th centuries during a celebration that was accompanied by music and joy. The living manifestation of this archetype is the ritual ceremony of Choli Qazak among the people of Khorasan region in search of rain. The people of Khorasan in the seasons of drought and lack of rain make dolls that have been passed down from their fathers to them during ritual ceremonies with instruments and drums. And they ask for rain from the water gods with joy and enthusiasm.
In the study of slipware colorful pottery, it has always been the focus of various researchers due to its unique motifs. During the past few decades, researchers have studied the patterns of the above pottery with different approaches. Despite the researches that have been carried out in the direction of rereading and interpreting the motifs, there are still ambiguities and challenges. One of the challenges in the interpretation of Polychrome decoration under transparent glaze pottery patterns is the illustrated illustration on a plate that is kept in the Nelson Atkins Museum of Art. In their research, according to historical texts, researchers have presented different opinions regarding the role of the above plate, and it is believed that their interpretations have fundamental problems. It seems that the study of historical texts alone is not a solution to the interpretation of the above illustration, and interdisciplinary science studies should be used to investigate the illustration of this container in a separate research using ethno-archaeological studies. Study and review. In this research, the Authors are of the opinion that by following the archetypes in the geographical context of the production of Polychrome decoration under transparent glaze pottery, the study scope of which includes the Khorasan region; to study the illustration of the plate, in order to achieve this goal, the Authors have used ethnographic studies and historical documents to interpret it. The research method of the upcoming research is a library with a comparative historical-analytical approach. In line with the above goal, questions such as what is the concept of the illustration of the colorful goblet plate? It has been proposed to what extent ethno-archaeological studies can be applied in the interpretation of the illustrated illustration on this dish. The result of the comparative research of ethno-archaeological studies and historical documents is that the theme of the illustration engraved on the plate is the ritual ceremony of asking for rain and water from the goddess Anahita and Tishtar, which is held today in the Khorasan region with changes in the way the ceremony is performed.
Keywords: Pottery, Neishabur, Polychrome Decoration Under Transparent Glaze, Ethnoarcheaology, Asking for Rain.
Introduction
Polychrome decoration under transparent glaze pottery was produced in the 3rd and 4th centuries AH and parallel to the Samanian rule in northeastern Iran, which are very prolific and diverse in terms of motifs. A samples of these pottery is kept in the Nelson Atkins Museum of Art. By analyzing historical texts, researchers have proposed interpretations for the illustration engraved on this plate. Despite the studies conducted with different approaches by different researchers, there are still uncertainties about the identity of human motifs. Therefore, it is necessary to investigate and analyze the identity of the human motifs depicted on the plate in a separate research using ethno-archaeological studies along with reviewing historical texts. Therefore, the aim of the Authors in this research is to study the illustration of plate by examining historical texts and archetypes in the geography of the production of Polychrome decoration under transparent glaze pottery, the scope of which includes the Khorasan region.
In the background of the plate, there are nested circles in black with oval motifs and blue-green with circular motifs. The central motifs are three human body performing a special ceremony. The two human body have two two-branched wings on their shoulders, which are hanging down, and according to the clothes they are wearing, their gender can be distinguished as male and female. On the left side of the central body, the role of a small human body with a strange face of incomplete creation is depicted. Between the central man and the body on the left, the motif of a bird with its head turned back and a multi- petaled flower, possibly a lotus, can be seen.
The Role of a High-Ranking Lady
One of the motifs of the plate shows the role of a high-ranking lady sitting on a chair. The high-ranking lady is probably a symbol of the gods believed by the people of the third and fourth centuries due to the presence of two pointed two-branched wings on her shoulders. It seems that the goddess with the rhyton in her hand is probably one of the gods associated with water.
A High-Ranking Man
The motif of a high-ranking man depicted on a Polychrome decoration under transparent glaze plate attributed to Neyshabur, like the motif of the goddess, is probably a symbol of the gods believed by the people of the third and fourth centuries due to the presence of two pointed two-branched wings on the shoulders. The male god is probably related to the water gods because he is next to the water goddess Anahita.
Plant Motifs
The lotus flower is called Abzad flower or the flower of life and creation in Farsi. Since this flower is related to water and in ancient traditions, the lotus flower was considered to be sacred and related to Anahita. Illustrated plant motifs on a Polychrome decoration under transparent glaze plate attributed to Nishapur, the plant pattern of the seat of the female deity, as well as the plant motifs around the body of the male deity and the ten-petaled flower between the male deity and a small human body by comparing the actual sample of the bud and the lotus flower and the obvious similarity with It is probably a symbol of the lotus flower.
Bird
On a Polychrome decoration under transparent glaze plate, the motif of a bird is drawn above the head of the male deity and the motif of a small human with his head turned back. The bird is probably a rooster symbol due to the abstract tail, several feathers on the body and also the crown on the head.
A Small Human Body
A small human body with a strange, imperfectly formed face, with eyes stretched vertically downwards, with open hands around him and a mouth on his cheek. to inspire a symbolic concept of him to the viewer. The small human role cannot be interpreted with the myth of Tishtar and Anahita; because there is no mention of its identity in opposition to the above gods in historical texts. Inevitably, in order to identify the identity of the small human role that can be referred to as the missing link and in the archetypes of the water myth, it was investigated in the geographical context of the production of Polychrome decoration under transparent glaze pottery attributed to Nishapur in the Khorasan region.
Conclusion
The result of the analyzes that were carried out in line with the proposed questions was that the scene of the celebration depicted on the plate was probably the narrator of the ritual ceremony related to water and rain among the people of the 3rd and 4th centuries in Nishapur. This result was obtained by identifying the patterns of the components of the plate with historical evidence and ethno-archaeological studies. Which could be identified with the identification of two human roles using historical texts with two wings and symbols such as lotus flower, rhyton, and cow horn hat. They were the gods Tishtar and Anahita. For the identification of the small human body with an ugly face, which gave the viewer a superhuman personality, the results of ethno-archaeological studies were also used by following its archetype in myths; Because she was assumed to be an ugly doll and also because she was placed next to the beautiful gods Anahita and Tishtar, she was matched with the ugly Qazak Chuli doll or the Opush demon in the Khorasan region with the ritual ceremony of asking for rain. The rooster is also depicted in opposition to the gods Anahita and Tishtar, and the doll symbolizing the demon Opush, a symbol of Sorush, which destroys the demonic forces of Opush. Therefore, according to the identification of motifs and their symbolic interpretation, the theme of the illustrated illustration on a Polychrome decoration under transparent glaze plate is related to the ritual ceremony of asking for rain in the 3rd and 4th centuries during a celebration that was accompanied by music and joy. The living manifestation of this archetype is the ritual ceremony of Choli Qazak among the people of Khorasan region in search of rain. The people of Khorasan in the seasons of drought and lack of rain make dolls that have been passed down from their fathers to them during ritual ceremonies with instruments and drums. And they ask for rain from the water gods with joy and enthusiasm.
Type of Study: Research |
Subject:
Interdisciplinary
Received: 2022/12/29 | Accepted: 2023/05/18 | Published: 2024/05/30
Received: 2022/12/29 | Accepted: 2023/05/18 | Published: 2024/05/30
References
1. - اتینگهاوزن، ریچارد؛ و یارشاطر، احسان، (1379). اوجهای درخشان هنر ایران. ترجمۀ هرمز عبداالهی، رویین پاکباز، تهران: انتشارات آگاه.
2. - اقتداری، احمد، (1354). دیار شهریاران. ج2، تهران: انتشارات انجمن آثار ملی.
3. - اکبریشکتایی، نرگس؛ و تقوی، عابد، (1397). «خوانش مفاهیم تغییر و استمرار در نقوش سفالینههای عصر سامانی». نامۀ هنرهای تجسمی و کاربردی، 22: 103-85. 10.30480/DOI: VAA.2019.1422.1172
4. - آموزگار، ژاله، (1389). تاریخ اساطیر ایران. ج 1، تهران: انتشارات سمت.
5. - بهار، مهرداد، (1380). بندهشن/ فرنبغ دادگی. تهران: انتشارات توس.
6. - بهار، مهرداد، (1384). پژوهشی در اساطیر ایران. تهران: انتشارات آگاه.
7. - بهمنی، پردیس، (1389). سیر تحول و تطور نقش و نماد در هنرهای سنتی ایران. تهران: دانشگاه پیام نور.
8. - بیرونی، ابوریحان، (1342). آثار الباقیه. ترجمۀ اکبر داناسرشت، تهران: نشر ابنسینا.
9. - پاپلییزدی، محمدحسین، (1378). «آئینهای بارانخواهی در زمان خشکسالیها». تحقیقات جغرافیایی مشهد، 55-54: 211-186. SID: https://sid.ir/paper/417260/fa
10. - پورداود، ابراهیم، (1387). اوستا (گاثاها) سرودههای زرتشت. تهران: دنیای کتاب.
11. - حکیم، محمدتقیخان، (1366). گنج دانش، جغرافیای تاریخی شهرهای ایران. بهاهتمام: محمدعلی صوتی و جمشید کیانفر، تهران: انتشارات زرین.
12. - خلعتبریلیماکی، مصطفی، (1393). آئینهای بارانخواهی و آفتابخواهی در فرهنگ عامه. تهران: انتشارات طهوری.
13. - دوستخواه، جلیل، (1388). اوستا. ج اول، چاپ سیزدهم، تهران: انتشارات مروارید.
14. - رجبی، پرویز، (1375). جشنهای ایرانی. تهران: انتشارات فرزین.
15. - رضی، هاشم، (1374). اوستا. تهران: انتشارات فروهر.
16. - رضی، هاشم، (1382). دین و فرهنگی ایرانی پیش از زردشت. تهران: انتشارات سخن.
17. - روزی، احمد، (1383). «ترانههای دعوت باران و بازداشتن آن در تاجیکستان». نشریه کتاب ماه هنر، 68-67: 46. magiran.com/p1620073
18. - سودآور، ابوالعلاء، (1384). فره ایزدی در آئین پادشاهی ایرانباستان. تهران: انتشارات نی.
19. - شوالیه، ژان؛ و گربران، آلن، (1384). فرهنگ نمادها (اساطیر، رویاها، رسوم، ایماء و اشاره، اشکال و قوالب، چهرهها، رنگها، اعداد). ترجمه سودابه فضایلی، جلد دوم، چاپ دوم، تهران: انتشارات جیحون
20. - طبری، محمدبن جبیر، (1356). ترجمۀ تفسیر طبری. ج. اول، بهاهتمام: حبیب یغمایی، تهران: انتشارات توس.
21. - عاشورپور، صادق، (1387). «نگاهی به مراسم بارانخواهی چمچهخاتون». فصلنامۀ تئاتر، 43 - 42: 54-44.
22. - عسکریالموتی، حجتالله، (1395). «بازخوانی محتوایی نقوش سفال نیشابور در قرن چهارم هجری با محوریت باورهای مذهبی و پیشگوییهای نجومی». خراسان بزرگ، 7 (25): 27-15. DOI: 20.1001.1.22516131.1395.6.25.2.8
23. - علیزاده، عباس، (1383). تئوری و عمل در باستانشناسی. تهران: انتشارت سازمان میراثفرهنگی کشور (پژوهشگاه).
24. - عناصری، جابر، (1348). «آئین طلب باران و حرمت آب در ایران». نشریه انجمن فرهنگ ایرانباستان، 1: 64-25.
25. - فرنبغدادگی، آذر، (1369). بندهشن. گزارنده: مهرداد بهار، تهران: نشر طوس.
26. - فرهوشی، بهرام، (1364). جهان فروری: بخشی از فرهنگ ایران کهن. تهران: نشر کاریان.
27. - فقیری، ابوالقاسم، (1389). باورهای سرزمین مادریام. شیراز: نشر نوید شیراز.
28. - کامبخشفرد، سیفالله، (1374). معبد آناهیتای کنگاور. تهران: سازمان میراثفرهنگی کشور.
29. - کرباسیان، ملیحه، (1384). فرهنگ الفبای موضوعی: اساطیر ایرانباستان. تهران: نشر اخوان.
30. - کیانی، محمدیوسف، (1357). پیشینۀ سفال و سفالگری در ایران. تهران: نسیم دانش.
31. - گویری، سوزان، (1371). «آناهیتا ایزدبانویی از تبار خدایان کهن». مجلۀ چیستا، 90 - 89: 1042-1012.
32. - محمودی، فتانه، (1380). «بررسی نقوش تزئینی هنر دورۀ ساسانی، بهویژه جامهای فلزی و پارچهها». پایاننامۀ کارشناسیارشد پژوهشهنر دانشگاه تربیتمدرس (منتشرنشده).
33. - محمودی، محمدعلی، (1388). «جشن آبریزگان و تاق بزرگ بستان». نشریۀ دانشکدۀ ادبیات و علومانسانی دانشگاه تبریز، 52: 136-115. SID: https://sid.ir/paper/447656/fa
34. - مسعودی، ابوالحسن علی بن الحسین، (1374). مروج الذهب. ج. 1. ترجمۀ ابوالقاسم پاینده، تهران: انتشارات علمی و فرهنگی.
35. - مشیری، ژاله، (1392). «مراسم طلب باران در حوزۀ کویری ایران». نشریه انسانشناسی، 19: 138-118. DOR: 20.1001.1.17352096.1392.11.19.4.6
36. - معصومی، غلامرضا، (1388). دایرهالمعارف اساطیر و آئینهای باستانی جهان. ج. 1، تهران: انتشارات سوره مهر.
37. - میرزائی، بنفشه؛ و مرادخانی، علی، (1398). «بازتاب مهرپرستی در نقوش سفالهای نیشابور در دورۀ سامانیان». نشریه رهپویه هنر/ هنر تجسمی، 2: 57-47. 10.22034/DOI: RA.2019.241844
38. - هال، جیمز، (1383). فرهنگ نگارهای نمادها در هنر شرق و غرب. ترجمۀ رقیه بهزادی، تهران: انتشارات فرهنگ معاصر.
39. - هینلز، جان، (1387). شناخت اساطیر ایران. ترجمۀ ژاله آموزگار و احمد تفضلی، تهران: انتشارات چشمه.
40. - ورمازن، مارتین، (1387). آیین میترا. ترجمۀ بزرگ نادرزاد، تهران: نشر چشمه.
41. - یاحقی، محمد، (1369). فرهنگ اساطیر و انتشارات داستانی در ادبیات فارسی. تهران: انتشارات مؤسسۀ مطالعات و تحقیقات فرهنگی.
43. - Akbari Shaktaei, N. & Taghavi, A. (2018). Reading the concepts of change and continuity in Samanid era pottery motifs. Letter of visual and applied art. (In Persian).
44. - Amozegar, Zh., (2010). History of Iranian Mythology. vol1, Tehran: Samt Publications. (In Persian). DOI: 10.30480/VAA.2019.1422.1172
45. - Alizadeh, A., (2013). Theory and practice in archaeology. Tehran: published by the country’s cultural heritage organization. (In Persian).
46. - Anasori, J., (1969). “Worshiping rain and sanctity of water in Iran”. Journal of Ancient Iranian Culture Association, 1: 25-64. (In Persian).
47. - Allen, T., (1989). “Notes on Bust (Continued)”. IRAN, 27: 57-66.
48. - Ashorpour, S., (2008). “A glance of the Chamche Khaton rain ceremony”. Theater Quarterly, 42-43: 44-54. (In Persian).
49. - Bahar, M., (2001). Bundahesh. Tehran: Toos Publications. (In Persian).
50. - Bahar, M., (2005). A research in Iranian Mythology. Tehran: Agah Publications. (In Persian).
51. - Bahmani, P., (2010). The course of transformation of motifs and symbols in traditional arts of Iran. Tehran: Payam Noor University. (In Persian).
52. - Birooni, A., (1963). Asar-e Albaghiyeh. Translated by: Akbar Dana seresht, Tehran: Ibn-e Sina Publications. (In Persian).
53. - Blair, Sh. & Bloom, J., (2004). “Decorative Art”: in: Islamic Art and Architecture, Markus Hattstein and Peter Delius (ed.) Konemann, Italy: 118-123.
54. - Bulliet, R. W., (1992). “Pottery style and social status in Medieval Khorasan”. in: Archaeology, Annales and Ethnohistory, A. B Knapp (ed.), Cambridge Univercity press: 75-82.
55. - Cooper, E., (2000). Ten Thousand Years of Pottery. British museum Press, London.
56. - Daneshvari, A., (2007). “Cup, Branch, Bird and Fish: An conographical study of the Figure Holding a cup and a Branch Flanked by a Bird and a Fish”, The Iconography of Islamic Art, studies in Honour of Robert Hillenbrand, Edited by Bernard Okane, (Edinburgh: Edinburgh University Press, Journal of Islamic Studies, 18 (2): 299–302. (In Persian).
57. - Dostkhah, J., (2009). Avesta. Vol 1, 13th edition, Tehran: Morvarid Publications. (In Persian).
58. - Eghtedari, A., (1975). The land of Shahriaran. vol 2. Tehran: Publications of the Association of national works. (In Persian).
59. - Ettinghause, R. & Yarshater, E., (2000). The brilliant peaks of Iranian art. Translated by: Hormoz Abdollahi, Roeintan Pakbaz, Tehran: Agah Publications. (In Persian).
60. - Faqiri, A., (2008). Beliefs of my motherland. Shiraz: Navid Shiraz publication (In Persian).
61. - Farah Vashi, B., (1985). Jahan -e farvari: A Part of Ancient Iranian Culture. Tehran: Karian Publications. (In Persian).
62. - Farnbagh Dadgi. (1990). Bundaheshn. Mehrdad Bahar, Tehran: Tos publication. (In Persian).
63. - Fehervari, G., (2000). Ceramics of the Islamic Worlds in the Tareq Rajab Museum. I. B.Tauris, London.
64. - Fitzherbert, T., (1983). “Themes and Images on the Animated Buff Ware on Medieval Nishapur”. Unprinted Thesis submitted to the faculty of Oriental Studies for the degree of master of philosophy, in the University of Oxford.
65. - Guviri, S., (1992). Anahita, a goddess from the lineage of ancient gods. Chista Magazine, 90-89: 1012-1042 (In Persian).
66. - Hakim, M., (1997). A treasure of knowledge. Historical geography of Iranian cities. By the efforts of Dr. Mohammad ali Souti & Jamshid Kianfar. Tehran, Zarrin Publications. (In Persian).
67. - Hall, J., (2003). Pictorial Dictionary of Symbols in Eastern and Western Art. Translated by: Roghieh Behzadi, Tehran: Farhang Moaser Publications. (In Persian).
68. - Hinels, J., (2008). Knowing the Mythology of Iran. Translated by: Amoozgar and Ahmad Tafzali, Tehran: Cheshme Publications (In Persian).
69. - Kambakhsh Fard, S., (1978). Anahita Kangavar Temple. Tehran: Cultural Heritage Organization of the country (In Persian).
70. - Karbasian, M., (2004). Thematic Alphabetical Dictionary: Mythology of Ancient Iran. Tehran: Akhwan Publications. (In Persian).
71. - Kayani, M., (1978). History of pottery in Iran. Tehran: Nasim Danesh Publications. (In Persian).
72. - Khalatbari, M., (2011). Rituals of asking for rain & sunshine in popular culture. Tehran: Tahori Publications. (In Persian).
73. - Lane, A., (1947). Early Islamic Pottery Mesopotamian, Egypt and Persia. Faber and Faber Ltd., London.
74. - Lane, A., (1948). Islamic Pottery From The Ninth To The Fourteen Centuries A.D, In the Collection Sir. E. Hitchcock, Faber and Faber Limited, London.
75. - Mahmoudi, F., (1991). “Studying the decorative motifs of the Sassanid period art, especially metal cups and materials”. Master’s thesis of art research of Tarbiat Modares University, (unpublished), (In Persian).
76. - Mahmoudi, M., (2008). “Abrizgan Festival and Bostan Tower”. Faculty of Literature and Humanities, Tabriz University, 52: 136. (In Persian). SID: https://sid.ir/paper/447656/fa
77. - Masoudi, A., (1995). Moruj al-zahab. Vol. 1. Translation by: Abolghasem Payandeh, Tehran Scientific and Cultural Publications. (In Persian).
78. - Masoumi, Gh., (2008). Encyclopaedia of Mythology and Ancient Rituals of the World. Vol1, Tehran: Surah Mehr Publications.
79. - Mirzaei, B. & Moradkhani, A., (2018). “Reflection of Mitrism in Neyshabur pottery motifs in the Samanid period”. Rahpoueh Art Journal, 2: 44-57. (In Persian). DOI: 10.22034/RA.2019.241844
80. - Moshiri, Zh., (2012). “Rain Requesting Ceremonies in the Desert Basin of Iran”. Anthropology Journal, 19: 118-138 (In Persian). DOR: 20.1001.1.17352096.1392.11.19.4.6
81. - Pancaroglu, O., (2013). “Feassts of Nishapur: Cultural Resonances of Tenth-century Ceramic production in Khurasan”. in: M. Mc Williams (ed.), In: Harmony: The Norma Jean Calderwood Collection of Islamic Art, Harvard Art Museums, Cambridge.
82. - Papeliyazdi, M., (1999). “Rain rituals during droughts”. Geographical research of Mashhad. 54-55: 186- 211. (In Persian).
83. - Pourdavod, E., (2008). Avesta (Gathha). Zoroaster’s poems. Tehran: Donyay ketab (The world of book). (In Persian).
84. - Rajabi, P., (1996). Iranian celebrations. Tehran: Farzin Publications.
85. - Razi, H., (2003). Iranian religion & culture before Zoroasterianism. Tehran: Sokhan Publications. (In Persian).
86. - Roozi, A., (2004). Songs calling for rain and stopping it in Tajikistan. Ketab-e- Mah- honar. magiran.com/p1620073
87. - Soodavar, A., (1969). Far-e- Izadi in ancient Iran monarchy. Tehran: Nei Publications. (In Persian).
88. - Samanian, S. & Bahmani, P., (2013). “Sprin- Summer. studying the Identity of Nishapur during the First few centuries”. Armanshahr Architecture & Urban development, 1-(10): 5-14. (In Persian).
89. - Samavaki, Sh., (2021). Les Céramiques Buff de Nishapur. L’etude iconographique des ceramiques polychromes a decor figuratif, IXe- Xesiecles. Independently published.
90. - Chevalier, J. & Gheerbrant, A., (2004). The culture of symbols (Dictionnaire des symboles: mythes, reves, coutumes). Translated by: Sudaba Fazali, second volume, second edition, Tehran: Jihoun Publications.
91. - Tabari, M., (1977). Translated by Tafsir-eTabari. Vol 1, By: the efforts of Habib Yaghmaei, Tehran: Toos Publications. (In Persian).
92. - Varmazen, M., (2008). Mitra’s cult. Translated by: Bozorg Naderzad, Tehran: Cheshme Publications.
93. - Ya Haghi, M., (1990). Mythology and fiction publications in Persian literature, Tehran: Institute of Cultural Studies and Research Publications (In Persian).
94. - Watson, O., (2004). Ceramics From Islamic Lands. London: Thames & Hudson Ltd.
95. - Wilkinson, Ch. K., (1973). Nishapur: pottery of Early Islamic period. The Metropolitan Museum of Art.
96. - Wilkinson, Ch. K., (1961). “The Glazed Pottery Of Nishapur and Samarkand”. Metropolitan Museum Of Art Bulletin, Newsletter, 20 (3): 102-115.
98. URL: 1. https://art.nelson-atkins.org/collections/ (accssed date, 2022/12/13)
99. URL: 2. https://setare.com/fa/news/10124(accssed date, 2022/12/13)
100. URL: 3: https://shahraranews.ir/files/fa/news/1400/8/11/389414_858.jpg. (accssed date, 2022/12/13)
Send email to the article author
| Rights and permissions | |
 |
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. |