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مطالعه و معرفی چند نمونه از کاشی‌های زرین‌فام موجود در مجموعه موزه‌ای موسسه‌ی فرهنگی موزه‌های بنیاد مستضعفان انقلاب اسلامی | ||
| مطالعات باستان شناسی دوران اسلامی Journal of Islamic Archaeology studies | ||
| مقاله 2، دوره 1، شماره 2، اسفند 1401، صفحه 21-40 اصل مقاله (1.42 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22080/jiar.2021.3216 | ||
| نویسندگان | ||
| سحر عبدالهی* 1؛ سید رسول موسوی حاجی2؛ اسدالله جودکی عزیزی* 3 | ||
| 1دانش آموخته ی دکتری باستان شناسی دوران اسلامی، دانشکده‌ی هنر و معماری، دانشگاه مازندران، بابلسر، ایران. | ||
| 2استاد گروه باستان‌شناسی، دانشکده‌ی هنر و معماری، دانشگاه مازندران، بابلسر، ایران. | ||
| 3دانش آموخته دکتری باستان شناسی دوران اسلامی ، دانشکده‌ی هنر و معماری، دانشگاه مازندران، بابلسر، ایران. | ||
| تاریخ دریافت: 29 اسفند 1399، تاریخ پذیرش: 29 اسفند 1399 | ||
| چکیده | ||
| کاشی یکی از عناصر تزئینی – کاربردی وابسته به معماری است که جز آن، گاه روایتی تصویری از جنبه‌های اعتقادی و جغرافیای پیرامون سازندگانش را نیز به‌دست می‌دهد. این نوع آثار در روندی تاریخی و چند هزارساله از شکل و طرحی بسیار ساده به اثری ارزشمند و فاخر تبدیل شدند. نمونه‌های زرین‌فام این صنعت هنری که در دوران اسلامی به‌ویژه در سده‌های میانه در آرایش نمای درونی و بیرونی آثار معماری موقعیت بسیار ممتازی یافتند، صورت اعتلای این ساخته‌ها به‌شمار می‌روند. در ارتباط با این آثار پژوهش‌های گوناگونی صورت گرفته است؛ اما در موزه‌ها و مجموعه‌های دولتی و غیر دولتی نمونه‌های ارزشمندی وجود دارد که تاکنون مطالعه و معرفی نشده‌اند. نمونه‌های موجود در مجموعه موزه‌ای موسسه‌ی فرهنگی موزه‌های بنیاد مستضعفان انقلاب اسلامی، از جمله این آثار ناشناخته یا کمتر شناخته شده‌اند. از این‌روی، پژوهش حاضر با انتخاب شش نمونه از کاشی‌های این مجموعه موزه‌ای، تلاش کرده، با بهره‌گیری از رهیافت تاریخی آنها را مطالعه و معرفی نماید. چهار نمونه از کاشی‌ها شکل اختری/ کوکبی/ ستاره‌ای دارند و دو مورد از آنها کاشی خشتی به‌شمار می‌رود. نمونه‌های اختری دارای نواری متضمن کتیبه‌ای به خط نسخ‌اند؛ این کتیبه‌ها درواقع اشعاری از شعرای سده‌های نخستین و میانه‌ی دوران اسلامی ایران است. درونمایه‌ی اشعار، حکمی، اخلاقی، پند و اندرز و گاه حماسی است. نگاره‌ها در کوکب میانی و در زمینه‌ای متراکم از آرایه‌های گیاهی به‌رنگ، قهوه‌ای، کرم و مسی اجرا شده‌اند. صحنه‌های عاشقانه، رفتارهای تغزلی یک جفت پرنده و چرنده نر و ماده، در چشم‌اندازی از گلستان/ بوستان/ باغ ایرانی با بازنمایی تحرک نقوش، درونمایه‌ی آرایه‌های این کاشی‌هاست. سبک و شیوه‌ی اجرای آرایه‌ها، وجود کتیبه متضمن سال ساخت و اشعار کتیبه‌ها، تعلق آنها را به سده‌های هفتم و هشتم هجری نشان می‌دهد. همچنین سبک و شیوه‌های پرداخت آرایه‌ها و صورت نگاره‌ها در بیشتر نمونه‌ها قابل مقایسه با نمونه‌هایی است که در شهرهای کاشان تولید شدند. برخی نیز با نمونه‌های سلطان‌آباد قابل مقایسه‌اند. نمونه کاشی‌های خشتی هردو به یک نوار کتیبه‌ای تعلق دارند که احتمالاً محیط محراب یک بنای مذهبی را فرا گرفته بودند. کتیبه خط ثلث آنها متضمن کلماتی از آیات سوره مبارکه «شرح» است. شیوه‌ی پرداخت این نمونه‌ها نیز با تولیدات سبک کاشان قابل مقایسه است و احتمالاً به اواخر سده‌ی هشتم هجری تا اوایل سده‌ی دهم هجری تعلق دارند. | ||
| کلیدواژه‌ها | ||
| کاشی ستاره‌ای هشت‌پر؛ زرین‌فام؛ ایلخانی؛ مجموعه موزه‌ای موسسه‌ی فرهنگی موزه‌های بنیاد | ||
| عنوان مقاله [English] | ||
| The Study of the Luster tiles Star Shaped in Ilkhanid Era the based on Bonyads Collection Museum | ||
| نویسندگان [English] | ||
| sahar abdollahi1؛ Seyyed Rasool Mosavi Haji2؛ Asad Allah Joodaki Azizi3 | ||
| 1PhD student Islamic Archaeology, Art and Architecture Faculty,University Of Mazandaran, Babolsar, Iran | ||
| 2Professor, Department Member, Art and Architecture Faculty, University Of Mazandaran | ||
| 3Ph.D Alumnus in Islamic Archaeology, Art and Architecture Faculty, University Of Mazandaran | ||
| چکیده [English] | ||
| The Study of the Luster tiles Star Shaped in Ilkhanid Era the based on Bonyads Collection Museum 1) Introduction Like many artifacts and fine art, not only tiles reflect the practical needs of the artist, but also they represent lifestyle, landscape, beliefs and worldview of a society. Regardless of its insulating effectiveness, tiles have turned into a good visual source to record human history. Following a time-consuming process, tiles evolved from the most primary forms, which were the glazed tiles, into a unique aspect of the early and middle Islamic art. The most developed form of this art-industry are luster tiles. Due to mass production of metal dishes and artifacts in the historic era, the artists of the pottery industry were forced into poverty. With the rise of pottery dishes, artifacts and luster tiles in the Islamic era, the missing elements returned into attention; in such a way that the crafting techniques of lusterware and its production was a nationwide privilege and rarely been exclusive. In most of the museums in the world, sections are dedicated to these types of artworks which indicates its importance, and also became the source of motivation for architectural historians, art historians and archaeologists in order to specifically study these artworks and achieve valuable results in stylistics and interpretation of miniature paintings and inscriptions. 2) Methods and materials In a section in Ramsar’s Shohada cultural complex which is affiliated with the Mostazafan Foundation, there are many tiles from the Islamic era which many of them are lusterwares and have never been studied and also their stylistics and structural features are unidentified. The purpose of this article is to study, interpret and introduce five samples of lusterwares by using historical evidence, field and documentary studies. The following article studies these five samples based on two fundamental questions; one argues the decorations and the other argues the time and place of production. Four of the tiles are classified in star shaped pattern category while two of them are classified in clayey; all of them are made out of stone paste. Due to multiple sides, especially in curved shapes mixed with other tiles decorated with cross patterns, the stellar pattern consists more joints. 3) Results This particular feature reduced the weight effectivity which was a challenging point; As a result, it created more surface for the paste and helped stabilizing the vertical frames which were even more challenging. The main combination of colors of samples are brown, copper, copper-red and cream. The length and width of the samples which are decorated with star shaped pattern is 21 cm and they are 2 cm thick. Most of the edges are covered with an azure tape while the tape in some other samples is colored in cream. All the star shaped patterned tiles are decorated with either brown or copper inscriptions written in Naskh; the inscriptions are written on a white tape on the outer part of the edge. Two of the inscriptions are either covered with an azure tape or sprayed paint which makes it difficult to translate. Inscriptions contain orders, exhortation, moral advice and mythical themes. Only one sample is labeled with month and the year of production. In atar shaped patterns, the decorations are centered in the inner star. All of the samples are themed in flowers, plants and petal motifs. Only one sample contains a human motif; the motif is illustrated in Islamic medieval style also known as the Mongole style which is identified with a round face, stretched eyes and curved eyebrows with long eye lines. The outfits are decorated with stamped and paisley motifs. The head of the individuals are highlighted in an azure circle. In this sample, four of the human motifs are portrayed from the front and one is portrayed from the side. The outfit, hairstyle and the facial features of the one portrayed from the side is different from the others and also the motif pictures a man. The hand expression of this individual is indicating that he is having a conversation with the woman in front of him. This series of pictures are portraying a romantic scene. 4) Conclusion In most of the samples, a romantic scene of either a male and a female bird or a couple of gazelles are portrayed. This is the same style as the luster tiles from the middle Islamic era and the later in blue and white tiles. The artist portrayed his intention by coloring the motifs and main decorations in azure. In some of the samples the eternal love of flowers, lovebirds, warblers and nightingales which are the main themes of the Iranian poetry and miniature paintings is noticeable. The theme of the portrayed landscapes are Golestan/Boustan/Persian gardens which contains elements such as flowers, water or fishes and songbirds in one frame. Other landscapes portray a scene of an Iranian Paradis (graden) with animals such as deer and giant birds like cranes. Although there are limitations in terms of portraying motifs, the artist has successfully portrayed the dynamism of the scene by illustrating the surface of the water waves, dancing cranes with twisted necks and the wandering gazelles. The most important issue about these samples is the lack of harmony between the inscriptions and the motifs; one exhorts and the other sings a saga while the motifs are mainly portraying romantic scenes in Golestan/Persian gardens. According to the craftsmanship, school of motifs and the poems they carry, all samples date back to 7th and 8th centuries A.H. Due to the compressed motifs and the coloring style, most of the tiles might have manufactured in Kashan and some of them might have manufactured in Sultaniyeh. The clay samples which are part of an architectural element (possibly an altar), are constructed in a very high level of quality. An inscription written in Thuluth contains texts from Surah al-Sharh in Quran which indicates that two samples belong to the same building, same location and the same inscription. Their craftsmanship style is comparable to the manufactured samples in Kashan and they date back to late 8th to early 10th centuries A.H. Funding: There is no funding support. Authors' Contribution: The authors confirm contribution to the paper as follows: Study conception and analysis and interpretation of results: Asad Joudaki Azizi. Data collection: Sahar Abdollahi. Draft manuscript preparation: Seyyed Rasool Mousavi Haji. All authors reviewed the results and approved the final version of the manuscript. Conflict of Interest: Authors declared no conflict of interest. References 1) The Holy Quran. 2) Porter, Vanita (1381). Islamic Tiles, translated by Mahnaz Shayestehfar, Tehran: Collection of Islamic Art Works, Institute of Islamic Art Studies Publications. 3) Pope, Arthur (1387). A tour of Iranian art from prehistoric times to the present day, vol. 4, translated by Najaf Daryabandari and others, edited by Sirus Parham, Tehran: Scientific and Cultural Publications. 4) Shrouh, A. and Anushfar, M. (1385). Tile-pottery glaze, Mashhad: Javadan Kherad Publications. 5) Iraqi, Fakhreddin (1375). Iraqi Court, edited and introduced by Professor Saeed Nafisi, Tehran: Sanai Publications. 6) Quchani, Abdullah (1371). Persian Poems of Takht-e Soleiman Tiles, Tehran: University Publishing Center Publications. 7) Kashani, Abolghasem (1345). Arais Al-Jawahir and Nafais Al-Tayyib, by Iraj Afshar, Tehran: Publications of the National Works Association. 8) Lashkari, Arash, Akbar Sharifinia and Somayeh Mohajrotan, (1393). "A Study of the Patterns of Aveh Gold Tiles from the Ilkhanid Period", Nagareh Quarterly, No. 32, 53-39. 9) Malek Shahmirzadi, Sadegh (1375). Archaeological Foundations of Iran-Mesopotamia and Egypt, Tehran: Marlik Publishing. 10) Watson, Oliver (1382). Zarrinfam Iranian pottery, translated by Shokooh Zakeri, Tehran: Soroush Publications. 11) Wilson, Allen (1387). Islamic pottery from the beginning of the patriarchal period at the Ashmoulin Museum in Oxford, translated by Mahnaz Shayestehfar, Tehran: Collection of Islamic Art Works, Institute of Islamic Art Studies Publications. 13) Wilson, Allen (1383). Islamic Pottery, translated by Mahnaz Shayestehfar, Tehran: Collection of Islamic Art Works, Institute of Islamic Art Studies Publications. 14) Wilber, Donald (1365). Islamic architecture of Iran in the patriarchal period, translated by Abdullah Faryar, Tehran: Cultural Heritage Organization. 15) Carboni S., Masuya, T., 1933, Persian tiles, New York. 16) Godard, Y.A. ,1937, pieces datees de ceramique de Kashan a décor lusre-Athar-e Iran, Paris. 17) Pope, A. U.,1937, New finding in Persian ceramics of the Islamic period, Bulletin of the American institute for Iranian Art and Archaeology, Vol V, num. 1, New York. | ||
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