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سیر تحول آرایههای تزئینی سرسورههای قرآنی قرون اول تا نهم هجری | ||
| پژوهش نامه گرافیک نقاشی | ||
| مقاله 12، دوره 6، شماره 10، شهریور 1402، صفحه 163-175 اصل مقاله (1.37 M) | ||
| نوع مقاله: مروری | ||
| شناسه دیجیتال (DOI): 10.22051/pgr.2023.42955.1202 | ||
| نویسندگان | ||
| ویانا میرزائی* 1؛ فاطمه کاتب2 | ||
| 1کارشناسی ارشد پژوهش هنر، دانشکده هنر، دانشگاه الزهرا، تهران، ایران. نویسنده مسئول. | ||
| 2استاد گروه پژوهش هنر، دانشکده هنر، دانشگاه الزهرا، تهران، ایران. | ||
| چکیده | ||
| با ورود اسلام به ایران، هنر کتابآرائی حیاتی دوباره گرفت و اعجاز کلام قرآن و تقدس آن منجر به توجه و تأثیرپذیری و در نتیجه کوشش برای زیبا ساختن نسخ قرآنی شد. با تکیه بر این گزاره اصلی که آثار بر جای مانده نشان میدهند در قرآنهای خطی، سرسوره و فاصله میان آیات نخستین مکانهایی بودند که قابلیت تزئین یافتند؛ در پژوهش پیش رو به چرایی این پرسش بنیادی پاسخ داده میشود که سیر تکاملی سرسورههای قرآنی در نسخ خطی در سدههای اولیه اسلامی در ایران چه تغییرات بنیادینی داشتهاند و تحول آرایهها و رنگبندی آن چگونه بوده‌است؟ به این منظور و با هدف بررسی سیرتکاملی سرسورههای قرآنی، به بررسی و تحلیل نقوش و رنگمایههای موجود در آنها در نسخ خطی قرآنی در قرون اولیه اسلامی پرداخته شدهاست. این پژوهش کاربردی بهروش توصیفی، تحلیلی و تجزیه و تحلیل دادهها به شیوۀ استقرایی با تکیه بر منابع کتابخانهای و اینترنتی انجام شدهاست. یافتههای این پژوهش نشان میدهند که در سدههای نخستین اسلامی، تزئین ویژهای در نسخههای قرآنی دیده نمیشود ولی بهتدریج تا سدۀ نهم هجری با افزودن آرایههای تزئینی کتیبه، نشان و نقوش اسلیمی و ختائی و نیز تنوع در رنگبندی و خطوط، تذهیب‌های تجملی جایگزین تذهیب‌های ساده بهکاررفته در قرآنهای سدههای اولیه شده‌اند و همچنین بررسی‌ها نشان میدهند که نقوش و رنگ‌های بهکاررفته در آرایههای قرآنی ابزارهای مناسبی برای شناسایی هنرهای قرآنی هستند. | ||
| کلیدواژه‌ها | ||
| کلیدواژه‌ها: کتابآرایی؛ تذهیب؛ سرسوره؛ قرون اولیه اسلامی | ||
| عنوان مقاله [English] | ||
| The Evolution of the Decorative Ornaments in the Surah Names of Quran from the First to the Ninth Centuries of Hijri | ||
| نویسندگان [English] | ||
| Viyana Mirzaie1؛ Fatemeh Kateb2 | ||
| 1MA., Department of Art Research, Faculty of Arts, Alzahra University, Tehran, Iran, Corresponding Author. | ||
| 2Professor, Department of Art Research, Faculty of Arts, Alzahra University,Tehran, Iran. | ||
| چکیده [English] | ||
| Iran has a long tradition of publishing books and gilding manuscripts that dates back to the Sassanid era. The Manichaeans were masters of book design in Iran during this time, when they coexisted with Islam. Iranians paid attention to their techniques for gilding and book-making and were also familiar with the Manichaean way of book-making. The majority of the arts were affected by the Quran upon the entrance of Islam, which led to an increase in the popularity of gilding and book design. As a result, artists created more exquisite manuscripts as a result of the miracle of the Quran and its sanctity. Early on, in the history of Islam, calligraphy was frequently combined with gilding, which was hardly ever employed alone. )Afshar Mohajer, 2001: 18). When Islam arrived in Iran, the Seljuk government was created. Between the fourth and sixth centuries, Iran had its first monarchy and art school. According to Rouyin Pakbaz in his book, The Evolution of Painting in Iran, decorative patterns were utilized in book illustrations instead of geometric patterns during the Seljuk period. (Pakbaz. 1986: 401) Gilding deteriorated from the time the Mongol monarchs converted to Islam until the end of the Ilkhanids; but it underwent progressive transition once the Mongols invaded Iran until the end of the 7th century. From this perspective one of the significant aspects of manuscript gilding during this time, which is discussed in the book, is that the initial pages of the of the Quran are gilded and divided in a geometrical form, and Islamic motifs are used in them. The gilding was made more beautiful by using different and contrasting colours in the background. In the gilding in the Mongolian style, which was called naturalism, plant and animal figures were used more, and this naturalistic style continued in the gildings of the Timurid period. (Ettinghausen, 2008: 1378) In the Timurid period, it became common to draw plants, flowers, and natural landscapes, and the margins of books were illustrated with them. In this period, different colours were used, and blue and gold colours were used more. According to the proposition that in written Qurans, the beginnings and the space between the verses were first gilded, in this research, The key query is: What modifications did the Quranic chapters in Iranian manuscripts endure. throughout the early Islamic centuries, and how were these chapters gilded throughout Iran’s Islamic history up until the end of the Timurid era? The investigation goal is to learn more about the Quranic passages in manuscripts in the early Islamic centuries in Iran and what the gilding of these manuscripts meant. Therefore, firstly, the headings and its characteristics have been explained in the manuscripts, then the Quranic examples have been examined; Finally, the gilding and transformation in the headings in different Islamic eras until the beginning of the Safavid period. At the end, after drawing the statistical graph, the result of the research is written. The decoration of the headings of books and Qurans started in the first century of A.H. In the early centuries, these headings were often decorated with palm-shaped patterns, complex designs, or square geometric patterns. These patterns are usually from architectural images, tiles, and fabrics. (Khalili, 2001: 12-13) These decorations started with a narrow decorative strip. A narrow decorative strip is a long rectangle that has the names of the Quran Surahs inside it, and the image of a shamsa is drawn next to it either at the beginning or at the end, making it more beautiful. Narrow decorative strips were drowned until the third century of A.H., and after that, they headings were used instead. The initial headings are usually inserted into the margin from one or two sides, but by drawing the table on the pages, it is drawn with the text in the table. The headings were usually drawn in a wide form without side patterns according to the size of the text. Within the narrow decorative strip, geometric patterns of knots and sometimes flowers and bushes are designed, and the name of the surah is written in the middle of it in Kufic script. From the sixth century of A.H., the pattern of medallion and borders has been drawn inside the heading, and the name of the surah is written in the middle of the central medallion. Medallion is drawn according to the shape of the heading. The main elements of heading had certain characteristics in different eras. The knowledge obtained from the examination of works of art from various historical periods in passages is used to this study. It is therefore historical research, and its goal is crucial. Analytical arguments are used in the historical-descriptive research methodology. Taking samples and gathering samples of gilded works in museums and libraries are the instruments and procedures for gathering information. Due to the vast number of these samples, the statistical population for the historical era covered by this study is the headings of the Quran manuscripts from the beginning of the Islamic period to the beginning of the Safavid period, and the statistical population is the headings of the Quranic manuscripts of this period due to the large number of these samples. The number of 16 Qurans from the 3rd to the 9th centuries of A.H. has been examined, and a table of 21 chapters from these Qurans has been created. The number of four Qurans has been chosen purposefully, as samples, and four headings of these Qurans have been examined due to the similarity of other samples and as the main model in terms of visual characteristics. For this purpose, the Quranic manuscripts of the early Islamic centuries in Iran have been examined with the aim of visually studying these ornaments in the chapters by presenting images. According to final results, in the early Islamic periods, the gilding ornaments are quite plain and just include the chapter title and verse number, without dots or syntax, which are painted with gold color and drawn with a black pen around them, and headings have been the first place to be decorated and gilded. In the colouring of the Quranic headings, first a single colour of gold is used, then blue colours, then red colours, and finally a variety of colours such as orange, green, yellow, pink, etc. are used, but finally gold and azure colours are used more than other ones. Regarding the gilding of the surahs, first a decorative strip is drawn to separate the surahs, then this strip is completed and becomes a heading. In the evolution of heading, first the palm tree sign is added to it, then the inscription is added to it, and finally, the headers are embellished with plant motifs, including arabesque, flowers, and leaves. The patterns used to create the headings are delicate and drawn using a variety of colours. The Kufic line appears in the headings; initial position, followed by the Thuluth script, and then various other script types, including Naskh, Muhaqqaq, Rayhani, and Reqa' . As patterns, colours, and lines have changed over history, headers have expanded in variety and beauty. The colouring of Quranic gildings, which have been depicted in decorating books for years, is one of the best illustrations of analysis regarding conventional responsibilities. In the evolution of the gilding of Quranic verses in the early centuries of Islam, we see simple and gradually gilded decorative and luxurious gilding until the ninth century A.H. In completing this research, the transformation and change and the symbolic meaning of the use of gilding in Qurans are good topics for further research. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Bookmaking, Illumination, Headling, Early Islamic Centuries | ||
| مراجع | ||
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منابع
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