La musique, la danse et le vin : Festivités et rituels à Nishapur aux IXe–Xe siècles

Abstract

This article examines the rich visual culture of ninth- and tenth-century Nishapur through its polychrome ceramics, in which music, dance, and wine function as intertwined ritual languages. After reconstructing the historical and musical context, the study offers a detailed iconographic analysis of the “dancer” motif. It explores the dancer’s frontal posture, ambiguous attributes (drinking vessel versus horn of abundance), and associated symbols such as crested birds and fish. Close attention to costume details and the gender-fluid representation of the figure reveals a performative art that transcends rigid social categories. A second series of variants introduces masked performers, while the rare branch-bearing figure evokes themes of regeneration and cosmic renewal. Comparative readings alongside Sassanian metalwork and al-Sufi’s manuscript miniatures demonstrate that these ceramics formed an active visual archive, conveying collective memory and negotiating cultural exchange across pre-Islamic and early Islamic traditions. The article concludes by reflecting on the dynamic interplay between art, ritual, and identity in medieval northeastern Iran, and suggests avenues for future research into transregional iconographic networks.