پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 937 |
| تعداد مقالات | 7,696 |
| تعداد مشاهده مقاله | 12,621,463 |
| تعداد دریافت فایل اصل مقاله | 8,985,699 |
بررسی تطبیقی درهای چوبی تاریخ‌دار تبرستان در دوره حکومت مرعشیان (قرن نهم هجری قمری) | ||
| جلوه هنر | ||
| دوره 14، شماره 4 - شماره پیاپی 37، بهمن 1401، صفحه 46-65 اصل مقاله (1.35 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jjh.2023.41821.1858 | ||
| نویسندگان | ||
| محمد مدهوشیان نژاد* 1؛ حجت اله عسکری الموتی2 | ||
| 1استادیارگروه صنایع دستی، دانشکده هنر، دانشگاه الزهرا، تهران، ایران، نویسنده مسئول | ||
| 2استادیارگروه صنایع دستی، دانشکده هنر، دانشگاه الزهرا، تهران، ایران. | ||
| چکیده | ||
| از بین آثار چوبی تاریخی اسلامی برجای مانده در ایران، درهای چوبی یکی از نمونه‌های تقریبا فراوان و شاخص به‌منظور مطالعه تاریخ هنر به‌شمار می‌روند. آن‌ها اغلب علاوه بر تزیینات، دارای کتیبه‌هایی مشتمل بر متون مذهبی و ادعیه هستند که حاوی اطلاعات مهمی از دوره تاریخ ساخت‌شان هستند. از طرفی مرعشیان از جمله حکومت‌های محلی ایران هستند که کم‌تر در منابع به آن‌ها پرداخته شده است. آن‌ها در قرن نهم هجری قمری در منطقه تبرستان (مازندران کنونی) حکومت میکردهاند و آثار نسبتا زیادی از آنان در غالب بناهای آرامگاهی برجای مانده است. عدم ثبت درهای ارزشمند این دوره تاریخی علی‌رغم کثرث آن‌ها، ضرورت اصلی مقاله حاضر به‌شمار می‌رود. هم‌چنین، هدف این مقاله شناسایی و دسته‌بندی درهای تاریخی چوبی متعلق به قرن نهم هجری قمری در مازندران و مطالعه تطبیقی و بررسی سیر تحول آن‌ها در سدهِ مذکور است. بر این مبنا پرسش اصلی پژوهش این است: ویژگی‌های هنری درهای دوره مرعشیان با گاه‌نگاری مشخص چیست؟ در این پژوهش، علاوه بر مطالعه تحلیلی و توصیفی از روش تاریخی و تطبیقی استفاده شده است. به نحوی که برای انجام این مطالعه بر اساس پیمایش‌های میدانی، دادههای کتابخانهای و اسنادی تعداد چهارده درِ تاریخی به صورت هدفمند شناسایی و به‌عنوان نمونه‌های پژوهش انتخاب شده است. انتخاب آثار بر اساس مولفه‌هایی نظیر تاریخ‌دار بودن، داشتن تزیینات و آرایه‌های جالب توجه، بوده و جامع آماری پژوهش را شکل داده است. نتایج پژوهش نشان داد که، با توجه به حمایت‌های جدی مرعشیان از ساخت بناهای آرامگاهی و متعاقبا درهای چوبی، یک سیر حرکتی مداوم و مستمر در ساخت و تزیین این درها دیده می‌شود، به‌ترتیبی که رد پای یک سبک معین در ساخت و تزیین آن‌ها عیان است. | ||
| کلیدواژه‌ها | ||
| واژه‌های کلیدی: درهای چوبی؛ منبت قرن نهم هجری قمری؛ مرعشیان؛ درهای تاریخی تبرستان؛ امامزادگان مازندران | ||
| عنوان مقاله [English] | ||
| A Comparative Study of Historic Wooden Doors in Tabaristan During the Reign of the Marashis (14-15 Century) | ||
| نویسندگان [English] | ||
| Mohammad Madhoushian Nejad,1؛ Hojjatollah Askari Alamouti2 | ||
| 1Assistant Professor, Department of Handcrafting, Faculty of Arts, Alzahra University, Tehran, Iran, Corresponding Author. | ||
| 2Assistant Professor, Department of Handicraft, Faculty of Arts, Alzahra University, Tehran, Iran. | ||
| چکیده [English] | ||
| Among the historical Islamic wooden works remaining in Iran, wooden doors are significant examples, ideal for the study of history of art in Iran. In addition to decorations, they have inscriptions containing religious texts and prayers that contain important information about the period they have been created in. On the other hand, Marashis are amongst the local governments of Iran, Tabaristan (present Mazandaran) during 14-15 centuries AD, which have been relatively less discussed and studied, even though there are numerous monuments remaining from that period, mostly tombs and shrines. This lack of recognition of significant artistic structures, especially intricate wooden doors from that era, is specifically addressed in this article. Also, other goals of the present research include; identifying and categorizing historical wooden doors belonging to the 14-15 centuries AD in Mazandaran and the comparative study and investigation of their evolution. Door is always considered an integral element in buildings and historical and cultural monuments, so that today they can be considered one of the main and identifying elements in traditional architecture. One of the historical periods in which the application of wooden doors flourished in the construction of tombs and shrines, was the Marashi dynasty (760-906 AH) in Tabaristan (now Mazandaran). Shia Marashis, in order to pay respect to the deceased and descendants of the Shia Imams, built many tombs and shrines, most of them with luxurious wooden doors. Despite the fact that their overall construction method is often similar, the style and decorative motifs of these wooden doors are significant and specific. Interesting to point that, one of the characteristics of wooden doors of this period, is the existence of inscriptions containing information such as: the patron, year of construction, manufacturer, etc., on many of them. But the reason behind the study of these works in present research, in addition to their abundance and dispersion in the 9th century AH, was the diversity in their imagery and decoration. In accordance, the main questions posed in this research are: What are the artistic characteristics of wooden doors during the Marashi period, and how can the historical evolution of the mentioned doors in the Marashi period of Mazandaran be justified? The present research is conducted through developmental studies with a descriptive-analytical and comparative approach. Research data have been collected from library resources, document and field method and analyzed through qualitative method. The samples of the research are targeted and selected through a survey, fourteen samples have been identified and selected in a non-probable and purposeful manner: Imamzadeh Ebrahim in city of Babolsar, Imamzadeh Abdul Saleh in city of Marzroud, Imamzadeh Abdullah in city of Mahfroz Mahalla, Imamzadeh Yahya, Imamzadeh Prince Hossein and Imamzadeh Abbas in the city of Sari, Imamzadeh Ali Asghar, Imamzadeh Qasim and Imamzadeh Sultan Mohammad Taher in the city of Babol, Imamzadeh Yusuf in city of Noor, Imamzadeh Mofid in city of Neka, Shamsuddin Babelkani tomb in city of Behshahr, and the wooden door currently kept at Aga Khan Museum, Canada. In order to prove that the works belong to the 9th century AH, first the inscriptions were studied thoroughly and then their decorations were determined and classified. After categorizing the extracted technical and visual features, the works have been compared to highlight the evolution in these works. It should be noted that historical wooden doors - at least based on the examples remained after the advent of Islam in Iran - were usually made by two techniques: One Piece and Frame and Plate. In the one-piece method, a wooden board was cut to the desired dimensions, and while keeping the two appendages at the top and bottom as a round heel (the only point in common with the frame and plate technique), other decorations - mostly engravings and carvings - were added later onto the surface of the door directly. But in the frame and plate technique - at least the oldest example of it is from the Abbasid period - unlike the one-piece technique, the panels are made up of smaller components called frame and plate. This allows the manufacturer to decorate the panels separately and then install them inside the door frames. Another advantage of this technique, which is still being applied to this day, is its high resistance against the factors of mechanical destruction of wood, such as tension, warping, contraction and shrinkage (property of absorbing and repelling moisture) and so on. The use of reliable connection of the crotch and tongue along with wooden nails can be counted as another reason for the popularity of this method of door making. The main components of the doors in this method are the frame, the plate, the round heel and the nose. An additional point in this topic is the extension of the doors outside of the general norm in order to add a skylight in the upper part of the studied doors, which are decorated in the manner of latticework and hollow porcelain knots along with carvings. It is worth mentioning that, perhaps, other doors of the statistical community of the current research also had this feature, but due to the destruction of the building or moving to another place, it is possible that their light-reflecting part has been lost. As it can be seen from the content of this article, the Marashi Shiite government has been one of the supporters of the arts related to Shiite beliefs, and this causes the construction of shrines to suddenly flourish in the 9th and 10th centuries A.H. compared to the previous periods. In parallel, some artworks of the northern regions of Iran, including arts related to wood, have been developed and applied in buildings as architectural decorative elements, including the grave box, door, window and skylights made of mostly local wood (Azad-Sorkhdar). Due to the variety of shapes and forms of shrines, some have more entrances and windows, which is another reason for the perceived variety of wooden doors in that period. Among other factors of the development of these arts, we can mention the element of endowment, in such a way that the religious patrons paid attention to their religious customs in addition to pursuing political goals by financing the various components of these shrines such as doors. Which resulted in, artistic carpentry becoming the generational profession of many families in north of Iran, for several centuries, and also contributing to the tradition of teamwork among artists of that area. It is remarkable to point that, despite the civil turmoil and unrest in the Tabaristan (Mazandaran) in that period, the support for these artistic endeavors were not exclusive to a certain person or ruler, these activities and commissions for the construction of the entrance doors of the shrines did not stop either. It is possible that in the future other doors will be found and this historical diversity will be complemented more accurately. According to the findings of this article, some important issues are worth mentioning: First, during the rule of the Shiite Marashi dynasty in present-day Mazandaran, their role in strengthening and establishing stability and promoting the art and architecture of the Shiite religion is significant and can be studied more extensively. Furthermore in this period, patrons of the arts have played a significant role in the emergence of all kinds of architectural decorations, especially historical wooden doors, as a continuous tradition, in the context of existing political, social and religious conditions. In a way that the historical journey of the discussed wooden doors, sheds light on a century of continuous support for carpentry as an art. In fact, assigning a lot of decorations to the buildings that belong to the Shiites and Imam’s descendants’ shrines represents the Shiite beliefs of the people of this region. In addition, in the inscriptions of most of the investigated works, the patron's name is clearly mentioned along with the creator and artist. In terms of historical scope, exactly half of the works are related to the first half of the period and the rest to the second half. This can indicate the consistency of the construction of wooden works during the mentioned era. This balance is noticeable in some other visual and technical components. For example: the common pattern in the construction method and the general form of the frames, as well as the skylights above the doors, decorating the middle panel with geometric knots, covering the nose with similar geometric and plant motifs, the use of concave pavement with medium ground depth. The results of the research show that due to the serious support of the Marashis for the construction of shrines and subsequently wooden doors, a continuous movement can be detected in the construction and decoration of these doors. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Wooden Doors, Inlaid 9th Century AH, Marashis, Historical Doors of Tabaristan | ||
| مراجع | ||
|
منابع
قرآن کریم (1385). ترجمه مهدی الهی قمشه‌ای، تهران: نمونه.
بهرامی، ناصر (1387). ابن یمین (دهقان شاعر): بررسی و تحلیل دیوان ابن یمین، تهران: بهرامی.
پیرنیا، کریم (1383). سبک شناسی معماری ایران، تدوین غلامرضا معماریان، تهران: پژوهنده.
رازانی، مهدی (1398). کارشناسی آثار و تهیه شناسنامه اشیای موزه هنر ایران، تهران: موسسه موزه‌های بنیاد مستضعفان (چاپ نشده).
راعی حسین (1390). بررسی و مطالعه برج – مقبره‌های قرن 8 و 9 ه.ق. در مازندران نمونه موردی: معرفی مقبره شمس آل رسول آمل، مرمت و معماری ایران (مرمت آثار و بافت‌های تاریخی، فرهنگی، سال اول، شماره 2، 75- 90.
رحمتی‌زاده، علی؛ سلطان‌زاده، حسین؛ اعتصام، ایرج و سید مصطفی، مختاباد امرئی (1398). نقش محیط و فرهنگ در شکل‌گیری آرامگاه‌های دوره اسلامی در حاشیه جنوبی دریای خزر، اندیشه معماری، سال سوم، شماره 5، 60-83.
سبکبار، صدیقه (1394). مطالعه نقوش و تزیینات بقاع متبرکه استان مازندران با تاکید بر شهرستان ساری (نمونه موردی: امامزاده عباس، امامزاده صالح، امامزاده یحیی و سلطان زینالعابدین)، پایان‌نامه کارشناسی ارشد پژوهش هنر، تهران: دانشکده هنر و معماری، دانشگاه پیام نور واحد شرق تهران.
ستوده، منوچهر (1374). از آستارا تا استرآباد، جلد 4، چ. دوم، تهران: انجمن آثار و مفاخر فرهنگی.
شاهپور شهبازی، علیرضا (1395). راهنمای مستند تخت جمشید، چ. سوم، تهران: فرهنگسرای میردشتی، سفیران.
شیخی، علیرضا (1395). واکاوی مناسبات قدرت در عهد شاهرخ تیموری و بازتاب آن در آثار منبت خراسان، پایان‌نامه دکتری تاریخ تحلیلی و تطبیقی هنر اسلامی، تهران: دانشگاه هنر.
شیخی، علیرضا و سامانیان، صمد (1399). منبت معاصر ایران، تهران: دانشگاه هنر تهران.
فقیه بحرالعلوم، محمد مهدی (1385). تاریخ تشیع و مزارات شهرستان ساری، قم: وثوق.
کریمیان، معصومه (1391). ساخت رحل قرآن بر اساس منبت‌کاری تیموری، پایان‌نامه کارشناسی ارشد هنر اسلامی گرایش چوب، تبریز: دانشکده هنرهای اسلامی، دانشگاه هنر اسلامی.
کریمیان، معصومه (1396). منبت‌کاری در روزگار تیموریان، اصفهان: گلدسته.
ﮐﻼﻧﺘﺮ، ﻋﻠﻲﺍﺻﻐﺮ و ﺁﻳﺖﺍﻟﻠﻬﻲ، ﺣﺒﻴﺐﺍﷲ (1388). ﮐﺎﺭﺑﺮﺩ ﺁﻳﺎﺕ ﻗﺮﺁﻧﻲ ﻭ ﻣﺘﻮﻥ ﻣﺬﻫﺒﻲ ﺩﺭ تزیینات ﻣﻌﻤﺎﺭﻱ ﺷﻴﻌﻲ ﻣﺎﺯﻧﺪﺭﺍﻥ، نگره، شماره 13، 5- 27.
ﮐﻼﻧﺘﺮ، ﻋﻠﻲﺍﺻﻐﺮ (1388). گنجینههای قدسی پنهان (نگاهی زیباییشناسانه به بارگاه برخی امامزادگان ساری).
کلانتر، علی‌اصغر (1394). سبک‌شناسی معماری برج‌های آرامگاهی مازندران در دوره اسلامی، پایان‌نامه دکتری پژوهش هنر، تهران: دانشگاه شاهد.
کیانمهر، قباد و کریمیان، معصومه (1393). بررسی نقش‌مایه‌ها و ویژگی‌های بصری درهای چوبی مقبره امامزاده عباس ساری و مسجد جامع افوشته اصفهان از دوره تیموری، سفالینه، دوره 1، شماره 1، 67- 83.
کیانی، محمد یوسف (1362). دو بنای تاریخی حاشیه خزر، موزه‌ها، شماره 5، 34- 43.
کیانی، محمد یوسف (1383). معماری ایران دوره اسلامی، تهران: سمت.
گلمبک، لیزا و ویلبر، دونالد (1374). معماری تیموری در ایران و توران، ترجمه کرامت الله افسر و محمد یوسف کیانی، تهران: سازمان میراث فرهنگی کشور.
ماهفروزی، علی (1378). بررسی و تحلیل آثار چوبی قرن 9 هجری قمری در مازندران (بررسی و تحلیل آثار ساری)، پایان‌نامه کارشناسی ارشد باستان‌شناسی، تهران: دانشگاه تهران.
مجد، مصطفی (1388). ظهور و سقوط مرعشیان، تهران: رسانش.
مهجوری، اسماعیل (1345). تاریخ مازندران، جلد 2، ساری: اثر.
مهدوی، حبیب‌الله (1395). حیات سیاسی، اجتماعی، مذهبی و فرهنگی خاندان مرعشی از ظهور تا سقوط صفویه، پایان‌نامه کارشناسی ارشد تاریخ و تمدن ملل اسلامی، تهران: دانشکده علوم و تحقیقات اسلامی، دانشگاه بین‌المللی امام خمینی.
مهدوی آبندانکشی، سیده کبری (1391). طراحی و ساخت زیورآلات چوبی بر مبنای منبت‌کاری مازندران (در و صندوق قبر)، پایان‌نامه کارشناسی ارشد هنر اسلامی گرایش چوب، تبریز: دانشگاه هنراسلامی.
نیستانی، جواد (1383). پژوهشی در بناهای آرامگاهی مازندران مرکزی در قرن 9 هجری (با تاکید بر ویژگی‌های معماری بومی)، پایان‌نامه دکتری باستان‌شناسی، تهران: دانشگاه تربیت مدرس.
نیک‌شناس، الهام؛ انعامی، فرزانه و اکبری، فاطمه (1393). مطالعه تزیینات درب چوبی بناهای مذهبی مازندران (نمونه موردی: درب شرقی امامزاده ابراهیم بابلسر)، دومین همایش ملی تبرستان، دانشگاه مازندران، بابلسر. 78-82.
References
- Aube, S. (2017). Skills and Style in Heritage: The Woodworker Faḫr al-Dīn and his Son ʿAlī in the Mazandaran (Iran, ca. 1440-1500), EURASIAN Studies 15 ,283-303.
- Faqih Bahr al-Ulum, M. (2006). History of Shiism and Tombs of Sari, Qom: Vosough Publications. (Text in Persian).
- Golumbek, L., Wilbur, D. (1995). Timurid Architecture in Iran and Turan, translated by Keramatullah Afsar and Mohammad Yousef Kiani, Tehran: Publications Cultural Heritage, Tourism and Handicraft Organization. ( Text in Persian).
- Kalantar, A. (2015). Architectural Stylistics of Mazandaran Tomb Towers in the Islamic Period, PhD Thesis, Tehran: Shahed University. ( Text in Persian).
- Kalantar, A., Ayatollah, H. (2009). Application of Quranic verses and religious texts in the decoration of Shiite architecture of Mazandaran, Negareh Journal , 13, 5-27. ( Text in Persian).
- Karimian, M. (2012). Making the Qur'an based on Timurid inlay, Master Thesis, Faculty of Islamic Arts, Tabriz: Islamic Art University. ( Text in Persian).
- Karimian, M. (2017). Timurid Wood Carving, Isfahan:Isfahan: Goldasteh Publications. ( Text in Persian).
- Kiani, M. (1983). Two historical monuments of the Caspian Sea, Journal of Museums, 5, 34-43. ( Text in Persian).
- Kiani, M. (2004). Iranian Architecture of the Islamic Period, Publication, SAMT (organization): Tehran. ( Text in Persian).
- Kianmehr, G., and Karimian, M. (2014). A study of the motifs and visual features of the wooden doors of the tomb of Imamzadeh Abbas Sari and the Afoushteh Mosque of Isfahan from the Timurid period, Sefalineh, 1 (1) 67-83. ( Text in Persian).
- Mahdavi., K. (2016). The Political, Social, Religious and Cultural Life of the Marashi Family from the Rise to the Fall of the Safavids, Master Thesis, Faculty of Islamic Sciences and Research, Department of History and Civilization of Islamic Nations: Imam Khomeini International University: Tehran. ( Text in Persian).
- Mahdavi, K.. (2012). Design and manufacture of wooden ornaments based on wood carving in Mazandaran (door and tomb wooden), Master Thesis, University of Islamic Arts: Tabriz. ( Text in Persian).
- Mahforozi, A. (1999). Study and analysis of wooden works of the 9th century AH in Mazandaran (Study and analysis of works in Sari), Master Thesis, Tehran: University of Tehran. ( Text in Persian).
- Mahjouri, I. (1966). History of Mazandaran, 2 volumes, Sari: Publication Of the Asar. ( Text in Persian).
- Majd, M. (2009). The Rise and Fall of the Marashians. Tehran: Rasanesh Publishing. ( Text in Persian).
Mahfrozi, A. (2008). Study and analysis of wooden works of the 9th century AH in Mazandaran (study and analysis of Sari works), Master's thesis, Tehran: University of Tehran. ( Text in Persian).
- Neyestani, J. (2004). A Study on the Tomb Buildings of Central Mazandaran in the 9th Century AH (with Emphasis on the Features of Native Architecture), PhD Thesis in Archeology, Tehran: Tarbiat Modares University. ( Text in Persian).
- Nikshenas, E. (2014). Study of wooden door decorations of religious buildings in Mazandaran (Case study: East door of Imamzadeh Ebrahim Babolsar), 2nd Tabaristan National Conference, 23-36. ( Text in Persian).
- Pirnia, K. (2004). Stylistics of Iranian Architecture, edited by Gholamreza Memarian, Tehran: Pajouhandeh Publishing.( Text in Persian).
- Rahmatzadeh, A. (2019). The role of environment and culture in the formation of Islamic tombs in the southern margin of the Caspian Sea, Journal of Architectural, 3 (5), 60-83. ( Text in Persian).
- Rai, H. (2012). Analysis of Tower-Burial Sites during 8th and 9th Centuries (AH) inMazandaran Province, Maremat & memari-e Iran, 1 (2) 75-90.( Text in Persian)
- Razani, M. (2019). Examining the works and preparing the identity card of the objects of the Iranian Museum of Art, Tehran: Institute of Museums of the Bonyad Mostazafan (unpublished) ( Text in Persian).
- Sabok bar, S. (2014). Studying the motifs and decorations of Bekaa Motabaraka of Mazandaran province with an emphasis on Sari city (case example: Imamzadeh Abbas, Imamzadeh Saleh, Imamzadeh Yahya and Sultan Zain-al Abdin), master's thesis, supervisor: Dr. Elias Safaran, date of defense: 2014, School of Art and Architecture, Payam Noor University, East Branch, Tehran. ( Text in Persian).
- Sotoudeh, M. (1995). from Astara to Astarabad, 5 volumes, Tehran: Publications of the Society for the National Heritage of Iran. ( Text in Persian).
- Shahpour Shahbazi, A. (2015). Documentary Guide to Persepolis, third edition, Tehran: Farhangsarai Mirdashti. ( Text in Persian).
- Sheikhi, A. (2015). Analyzing power relations during the reign of Timurid Shahrokh and its reflection in Khorasan carvings, doctoral thesis, supervisor: Ahmad Tandi, defense year: 2015, University of Arts: Tehran. ( Text in Persian).
- Sheikhi, A and Samanian, S. (2019). Contemporary Iranian Carving, Tehran: Tehran University of Art Press. ( Text in Persian).
URLs:
URL2. https://tahlilak.com//معرفی-استان-مازندران-نقشه | ||
|
آمار تعداد مشاهده مقاله: 410 تعداد دریافت فایل اصل مقاله: 367 |
||