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”پژوهشی تطبیقی بر نقوش گچ‌بری‌های دو بنای قاجاری شهر بیرجند (باغ اکبریه و رحیم‌آباد)“ | ||
| مطالعات باستان شناسی دوران اسلامی Journal of Islamic Archaeology studies | ||
| مقاله 11، دوره 1، شماره 2، اسفند 1401، صفحه 201-215 اصل مقاله (1.28 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22080/jiar.2021.3227 | ||
| نویسندگان | ||
| حسین کوهستانی1؛ سیده مهدیه شواکندی* 2 | ||
| 1استادیار گروه باستان‌شناسی، دانشکده‌ی هنر، دانشگاه بیرجند، بیرجند، ایران. | ||
| 2دانش آموخته کارشناسی ارشد باستان شناسی دانشگاه بیرجند, بیرجند، ایران . | ||
| تاریخ دریافت: 30 اسفند 1399، تاریخ پذیرش: 30 اسفند 1399 | ||
| چکیده | ||
| یکی از ویژگی‌های مهم هنر گچ‌بری طرح و نقش آنها است. بی‌تردید، سطوح دیوارها را می‌توان در دسترس‌ترین بستر انعکاس تفکرات مردمان گذشته به‌شمار آورد. عیناً بدین‌سبب است که گچ‌بری‌ها و سایر تزیینات مورداستفاده در بناها را شاهد بی‌بدیل ادوار فرهنگی گذشته به‌شمار آورده‌اند. در دوره‌ی قاجار امور تشریفاتی و تجمل‌گرایی رواج بیشتری یافت، تاآنجاکه حاکمان محلی نیز مانند حکومت مرکزی برای خود عمارت‌هایی مجلل و باشکوه احداث می‌کردند که ازجمله می‌توان به باغ و عمارت اکبریه و رحیم‌آباد بیرجند اشاره کرد. باغ و عمارت اکبریه به‌عنوان سکونتگاه طبقه‌ی حاکم، ویژگی‌های معماری و هنری متعددی دارد که یکی از مهم‌ترین آنها انبوهی از تزیینات گچ‌بری است. بخش‌های مسکونی، پذیرایی و حوضخانه، با‌توجه‌به نوع کارکردشان از جالب‌توجه‌ترین بخش‌های تزیینی به‌شمار می‌روند. عمارت مرکزی تزیینات گچ‌بری خاص و منحصربه‌فردی دارد که از لحاظ نقش‌مایه ـ هندسی، گیاهی و حیوانی ـ قابل‌توجه است. باغ و عمارت رحیم‌آباد یکی از بناهای قاجاریه‌ی بیرجند است. نکته‌ی حائزاهمیت در این بنا غنای نقوش گچ‌بری آن است. این پژوهش قصد دارد به روش تطبیقی به مطالعه‌ی نقوش گچ‌بری این دو عمارت بپردازد. گردآوری اطلاعات به شیوه‌ی کتابخانه‌ای و میدانی بوده و نقوش این عمارت‌ها موردمطالعه قرار گرفته است. یافته‌های پژوهش نشان داد نقوش این عمارت‌ها با مضامین و تکنیک‌های گچ‌بری یکسانی کار شده‌اند اما غنای تزیینات و گچ‌بری‌های باغ رحیم‌آباد نسبت به نقوش و تزیینات باغ اکبریه بیشتر است و نوع نقوش آن ازنظر تکنیک اجرا و مضامین، روند پیشرفته‌تری را طی کرده به‌طوری که در عمارت رحیم‌آباد بیشتر نقوش تأثیر غرب را منعکس می‌کنند و نقوش گیاهی فراوان‌تر شده‌اند. همچنین استفاده از سردیس‌های حیوانی در این عمارت دیده می‌شود. | ||
| کلیدواژه‌ها | ||
| هنر گچ‌بری؛ باغ اکبریه؛ بیرجند؛ قاجاریه | ||
| عنوان مقاله [English] | ||
| Comparative studies on the Plasters Moulding Motifs in Akbarabad and Rahimabad Gardens in Birjand City | ||
| نویسندگان [English] | ||
| Hossein Kohestani1؛ Seyedeh Mahdiyeh Shavakandi2 | ||
| 1Assistant Professor, Department of Archaeology, Art Faculty, University Of Birjand,Birjand, Iran. | ||
| 2MA Alumnus in Archaeology , University of Birjand. Birjand, Iran | ||
| چکیده [English] | ||
| Introduction: During the Qajar period, ceremonial affairs and luxuries became more popular, so much so that local rulers, like the central government, built luxurious buildings for themselves, including the Akbariyeh Garden and buildings and Rahimabad Birjand. Akbariyeh Garden and buildings as a residential area dedicated to the ruling class has many architectural and artistic features. One of the most important features and characteristics of this building is the existence of a large number of plaster molding decorations. In the central building, it has special and unique plaster molding decorations that are significant in terms of motifs, including geometric, plant and animal motifs. Rahimabad garden and mansion is one of the buildings of the Qajar period in Birjand. Therefore, it is important that the plaster designs of this mansion are rich In these mansions, designs with the same themes, but the richness of the decorations and plaster molding of Rahimabad Garden is much better than the designs and decorations of Akbariyeh Garden, and the type of designs has gone through a more advanced process in terms of execution techniques and themes. As in Rahimabad structure, most of the motifs reflect the influence of the Western architectural elements and plant motifs have become more abundant, we also have the use of animal heads in this mansion. Materials and Methods: This research has been done by comparative method, its compilation and information have been prepared from field studies (collecting documents by photographing and visiting the Akbarieh and Rahimabad gardens and designing patterns by software Corel). Results: From the obtained results, we can mention the variety of decorations, simplicity and use of the naturalistic aspect of some decorative designs, the use of the symbolic role of animals, the emphasis on symmetry and statics. And the execution of the plastering technique (compared to Akbariyeh mansion) can be seen. In this mansion, the plastering forms are completely three-dimensional and we try our best to execute the details of the designs and we have plastering pearls in the execution of the mirror frame in this mansion. The example of the mirror frame in Rahimabad mansion was colored and around the mirror frame is a crescent arch with a combination of plastering and mirror work. Conclusion: According to the studies carried out in the garden of birjand garden, different designs: animal, plant and geometric have been used. What is received with an overview of the collection of decorations in the central house of birjand garden is benefiting from visual quality in order to achieve excellence and finally beauty. Symmetric configuration in some designs of central edifice is a sign of the artist's goal to achieve balance and harmony. In general, the features of decorative motifs of the central edifice of birjand garden are: use of prolific and mirror decorations in the ceiling, composition of mirror decorations, using animal, plant and geometric motifs and decorative columns. In some of the patterns, there is a combination of geometric motifs and birds. Diversity of plant and geometric motifs beside motifs with abstract motifs is another characteristic of this building. the motifs of this edifice are not merely decorative aspects but also their symbolic aspects are also considered .also the motifs of birds used in the hall of this edifice are indicative of their sanctity. Motifs of birds that have been considered in the hall of this building show that most of the motifs have been performed by casting method and shaving. Geometric shapes to adorn and frame the motifs in the mirror decorations of this house sometimes appear to have a harmonious rhythm and sometimes with a single repetition in length or width of a geometric pattern. Rhythm and movement are the most obvious characteristics of the motifs in this edifice, which are not static and dry and yet dynamic and dynamic. In the decorative motifs of rahimabad mansion, to the culmination of the diversity and skill of design and implementation of the avant-garde technique in this edifice the frames are quite three - dimensional and the attempt is made to carry out the details of the designs and we have the pearls in the frame of the mirrors .also, a mirror frame model is colored in rahimabad mansion, and around the mirror frame a crescent - shaped mirror is seen by combination of mirrors and mirrors. Funding: There is no funding support. Authors' contribution: Seyedeh Mahdieh Shvakandi (first author) Dr. Hossein Koohestani (second writer) Conflict of interest: Authors declared no conflict of interest. Reference: Etezadi, Ladan; And Bina, Mohammad Javad. (1396). "Identification of types of open areas and their function in the historical gardens of Birjand (focusing on the gardens of Rahimeabad, Amirabad, Shaukatabad, Behlgard, and Akbariyeh)". Bagh-e Nazar, No. 47, Research Institute of Art, Architecture and Urban Planning, p. 5-16. Hallaj moghsdam,Hamid And Karampour, Aqdas. (1389). Historical gardens of South Khorasan province. Birjand: General Directorate of Cultural Heritage. Khazaei Mask, Somayeh; And arezoo, paydarfard. (1392). "Bed decorations and mirror work of Rahima Abad garden mansion in Birjand". View. No. 27: p. 49-59. Khalilnejad, Seyed Mohammad Reza. (1398). "Decorativeism, the Pest of Iranian Gardens of World Heritage". Manzar, No. 46, p. 50-55. Khalilnejad, Seyed Mohammad Reza; And Tobias, Kai. (1395). "Formation substrates and fruitful landscape features in the Persian garden". Bagh-e Nazar, No. 38: p. 3-16. Rezaei, Jamal. (1381). Birjandnameh. Tehran: Hermand. Ranjbar, Ehsan; Mehrbani Golzar, Mohammad Reza; And Fatemi, Mehdi. (1384). "An Introduction to the Knowledge of Birjand Historical Gardens". Bagh-e Nazar, No. 4: p. 50-71. Saberifar, Rostam; Karampour, Aqdas; And hamid hallaj moghadam (1393). "The need to identify and protect green spaces based on local conditions and regions of Iran (Case study: Akbari Garden, Birjand) Environmental Science, No. 4: pp. 1083-1098. Mansouri, Sidamir. (1384). "An Introduction to the Aesthetics of the Persian Garden". Bagh-e Nazar, No. 3, p. 58-63. Mousavi Haji, Sidersul,saremi naeini .Davoud; And Masoudi, Zabihullah. (1392). "Historical gardens of Birjand during the Qajar and Pahlavi eras". Journal of Greater Khorasan, No. 13, p. 51-67. Miri Moghadam, Ensieh (2009). Familiarity with Islamic architecture; Birjand, a city of historical monuments. Undergraduate thesis Khazaei Mask, Somayeh, Paydarfard, Arezoo, (2013). "Bed decorations and mirror work of Rahimabad garden in Birjand" Nigreh No. 27. | ||
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