@article { author = {Mirzaee, Banafsheh and Moradkhani, Ali}, title = {Reflection of Mithraism on Designs of NeyshaPur Potteries in Samanid Era……. Research Paper}, journal = {Rahpooye Honar-Ha-Ye Tajassomi}, volume = {2}, number = {1}, pages = {47-57}, year = {2019}, publisher = {Soore University}, issn = {2980-9983}, eissn = {2980-9991}, doi = {10.22034/ra.2019.241844}, abstract = {Pottery is one of the most ancient arts which since ancient times has been a manifestation of the beliefs and the thoughts of various nations. Potteries are hand-crafted works that their designs have symboles from the past people with them. Pottery dishes have always been an appropriate means of expressing imagination, beliefs and customs of the people of its time through utilizing drawing and creation of designs. Among them, the Neyshabur pottery in the Samanian Era has a special place. These potteries are a kind of link between two periods of the most important periods in the history of Iranian art, pre and post-Islamic art, and include iconic designs and images closely related to the rituals and customs of the pre-Islamic religions in Iran. Some of the designs of these potteries have themes derived from the ritual of Mithraism; Mithraism is one of the most prominent religions in Iran over the centuries before the advent of Islam. Mithraism is based on the worship of Mithra, ancient god and god of the sun, justice, covenant, and the Aryans brought it to Iran. In this ritual, the worship of fire and the forces of nature and magic have been used. The ritual of the pre-Islamic era was widely spread. It also influences on the other religions and has persisted in the Islamic era of Iran in another way.Samanian era is one of the most prominent historical periods in the Islamic era of Iran. This period is exclusive and important course from different views. From one hand scientific and cultural achievements, governance, social and administrative principles, on the other hand, based on the historian’s quotations. Cities of Khorasan such as Neyshabur were the important sites for scientific and theological activities. Since Neyshabur was located on the path of the Silk Road and was considered the cultural junction point of the East, Iran and Islam, much symbolism could be seen in the design of the potteries in these centuries. This symbolism has originated from the religion and the ancient traditions. During the Samanid era, with the support of the Iranian dynasty, the Persian language and Persian literature flourished and Persian works apperead. Based on the collaboration of Samanid rulers, some national ancient customs and rituals stabilized. in this era, as the result of adopting a tolerance and moderation policy, followers of different beliefs and sects worked free of any limitations. studying the symbols which are reflection on the potteries show that Some ancient symbols were changed with the arrival of Islam and Some symbols used are the same before and after Islam. Some of these symbols related with ritual of Mithraism.This article examines the effects of Mithraism, this ancient Persian ritual on the designs of Neyshabur’s pottery in the Samanian era. These effects are evident in some of these designs directly and in some in a coded way and in the form of a symbolic representation of the ritual of Mithraism. The present paper is responsible for examining these effects.}, keywords = {Mithraism,design,Neyshabur Pottery,Samanian Era}, title_fa = {بازتاب مهرپرستی در نقوش سفال‌های نیشابور در دوره سامانیان(نوع مقاله: پژوهشی)}, abstract_fa = {سفالینه‌ها، دست‌ساخته‌هایی هستند که نقوش شان رازهایی از گذشتگان به همراه دارند. ظروف سفالین، همواره وسیله‌ای مناسب جهت بیان تخیلات، اعتقادات و آیین‌های مردم زمان خود با استفاده از نقاشی‌ و پرداخت نقوش بوده‌اند. در این میان سفالینه‌های نیشابور در دوره سامانیان از جایگاه ویژه‌ای برخوردارند. این سفالینه‌ها به نوعی حلقه رابط میان دو دوره از مهم‌ترین دوره‌های تاریخ هنر ایران، یعنی هنر قبل و پس از اسلام، هستند و در بر‌گیرنده نقوش و تصاویر نمادینی که با آیین و رسوم ادیان پیش از اسلام در ایران ارتباط تنگاتنگ دارند. برخی از نقوش این سفالینه‌ها واجد مضامینی مأخوذ از آیین مهرپرستی است؛ مهرپرستی یکی از مذاهب آیینی مورد توجه و مطرح در ایران طی قرون متمادی پیش از ظهور اسلام است و در دوره اسلامی ایران نیز به صورتی دیگر تداوم یافته است. در این مقاله، که از جمله پژوهش های کیفی است، به بررسی تأثیرات این آیین کهن ایرانی بر نقوش سفال‌های نیشابور در دوره سامانیان اشاره می‌شود. این تأثیرات در برخی از این نقوش به صورت مستقیم و در برخی به صورت رمزی و در پوشش نمادهای برگرفته از آیین مهرپرستی مشهود است. گفتار حاضر با استفاده از روش توصیفی- تحلیلی عهده‌دار بررسی این تأثیرات است.}, keywords_fa = {مهرپرستی,نقش,سفال نیشابور,دوره سامانیان}, url = {https://rahpooye.soore.ac.ir/article_241844.html}, eprint = {https://rahpooye.soore.ac.ir/article_241844_1329c9cfa1cffc3811a3d88d02161d75.pdf} }