دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 5 1 2025 06 21 A Comparative Study of Motifs and Decoration in Pottery and Glass Art (Case Study: Sgraffito and Engraving) مطالعه تطبیقی نقوش و تزیین در هنر سفال و شیشه (نمونه موردی: اسگرافیاتو و حکاکی) 33 42 733339 10.22034/rac.2025.2053614.1117 FA پردیس زارعی دانشکده هنرهای تجسمی، دانشگاه هنراسلامی تبریز، تبریز، ایران 0009-0003-8627-2399 معصومه زمانی سعدآبادی دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران. 0000-0002-1203-2398 سید محمد میرشفیعی استادیار دانشکده هنرهای صناعی، دانشگاه هنراسلامی تبریز، تبریز، ایران. 0009-0000-9676-4395 Journal Article 2025 02 16 Decoration on pottery and glass can be considered a hallmark of the early stages of pottery and glass manufacturing. Pottery is one of the oldest and most important artifacts of human art, which has remained stable since the beginning of pottery’s use. One of the common potteries during the Islamic era is the Sgraffito, or, in other words, underglazed engraving pottery, which is known to have originated from the Coptic vessels of Egypt and China. In Iran, samples of Sgraffito pottery from the late 3rd and 4th centuries have been seen in areas such as Neyshabur, Amol, Aqkand, Siraf, and Samarkand at the same time as the Buyid and Samanid periods. The art and industry of glass have always fascinated humanity throughout history, with artists in this field creating outstanding works through their use of various tools, taste, and creativity. One of the factors that has made the art of pottery and glass among the valuable arts is the decorations that have been applied to glassworks by artists in this field. Several techniques have been used to decorate glass and pottery from the past to the present, one of which has a similar effect in two different contexts, by scratching the body of the work. Sgraffito or engraving on pottery was one of the early and standard techniques that developed in the Middle Ages and included various lines and shapes, including narrow lines on the surface of the pottery and sometimes on the surface of the pear to carving it, which led to a raised surface with exceptional elegance and complexity, especially in vessels that made the colors and patterns more prominent with the help of contrast. To decorate glass, techniques such as sandblasting are used, which involves both the glass itself and parts done by stone, ultimately finished by hand with a lathe. As an engraving technique, grooves of shallow or high depth were observed on the glass. Removing a surface of glass with grooves of great depth is generally called glass lathe, and this type of decoration is the oldest type of texture in glass. The cutting of glassware has a historical background of about 4000 years in the world and about 2600 years in Iran. The shapes and motifs carved on the glass body vary according to the ethnic cultures. The cutting stones are disc-shaped so that they can rotate at the required speed. The speed of lathe wheels and lathe discs is directly related to the type of lathe, and the greater the depth of the lathe, the faster the lathe wheel, and vice versa. Artisans specify the desired parts for the lathe on the glass, then create the desired motifs by positioning the glass container near the lathe wheel. However, removing a shallow surface of glass is called engraving or carving, and engraving is the art of scraping motifs in a regular and shallow manner on the glass with tools and abrasive materials. One of the simplest tools for engraving is obsidian, a type of volcanic rock, which was used to engrave glass in the early stages of the glass industry, as well as with pens whose tips are reinforced with synthetic diamonds. Engraving on glass is done in different ways, but in general, it can be divided into two groups: physical engraving with tools and chemical engraving with acidic materials. Carving or scratching pottery involves removing shallow surface material with pointed pens, while the same effect is achieved in glass using a copper wheel. The decorations on the surfaces of glass containers are shallow, opaque scratches that create a color difference from the glass surface, resulting in two distinct colors. In some cases, the shapes and images are worn in such a way that they become shadow-like and take on a three-dimensional appearance. One of the differences between carving on glass and pottery is that, in glass, motifs are three-dimensional only by scratching the surface of the glass. However, in pottery vessels, clay colors or the technique of Sgraffito can be used to create three-dimensional motifs. By studying the glassworks, it becomes evident that carved decorations have become the primary decoration on the vessels, with engraving being the sole technique used for decoration. However, by examining the pottery works, it can be seen that the sgraffito technique is used in all the works, along with other decoration techniques, including colored glaze, except for one instance where transparent glaze is used. Decorative motifs in glass works are divided into three categories: geometric, non-geometric, and plant motifs, and in other words, it can be said that these motifs are a series of motifs that are being repeated in these works and no motifs and decorations that are new have been found, however, in pottery, in addition to improving the motifs and motifs, from simple lines to new motifs, can be seen in the decorations of these works. در تاریخ هنر ایران، آثار سفالی و شیشه‎ای ارزنده‎ای بر جای مانده است که با نقوش ظریفی به شیوه خراشیدن تزیین ‎شده‎اند. این شیوه تزیین از جمله تزیینات رایج روی سفال قرون 4-7 و نیز آثار شیشه‎ای قرن 3 ه.ق است. پژوهش حاضر با هدف تدقیق و تطبیق نمونه‎هایی از آثار سفالی و شیشه‎ای مزین به نقش‎کنده در پی پاسخ به این پرسش اساسی برآمده است که «وجوه تشابه و تمایز آثار اسگرافیتو سفالی و حکاکی شیشه‎ای دوره اسلامی ایران چه بوده و این تکنیک مورد مطالعه با اثرگذاری مشابه در دو بستر متفاوت چگونه نمود یافته است؟». روش تحقیق توصیفی-تحلیلی با رویکردی تطبیقی و شیوه گردآوری اطلاعات از طریق منابع کتابخانه‎ای و اینترنتی است. در این پژوهش با روش نمونه‎گیری غیر احتمالی و هدفمند 4 نمونه اثر شیشه‎ای و 6 نمونه اثر سفالی بر اساس مؤلفه‎هایی اساسی این پژوهش همچون نقش و تزیین انتخاب شده و به شیوه کیفی مورد تجزیه و تحلیل قرار گرفت. آثار شیشه‎ای توسط چرخ مسی حکاکی ‎شده‎اند که در این روند سطح کم عمقی از شیشه ساییده شده که سبب تفاوت رنگ ظرف و نقش شده است و در آثار سفالی تفاوت رنگ بدنه با انگوب سبب تمایز طرح است. نتایج پژوهش نشان می‎دهد نقوش مورد استفاده در آثار شیشه‎ای شامل نقوش هندسی اعم از مثلث‎، خطوط مورب منظم و نقوش غیرهندسی شامل الگوی فلس و نقوش گیاهی شامل گل، برگ است و نقوش مورد استفاده در ظروف سفالی علیرغم اشتراکاتی همچون نقوش هندسی، غیرهندسی گیاهی، از نقوش جانوری نیز برخوردار است.

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