مقایسه شیوه کرسی بندی در دو چلیپای مشابه از سلطانعلی مشهدی و میرعلی هروی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
سلطانعلی مشهدی و میرعلی هروی از نامدارترین نستعلیق نویسان تاریخ خوشنویسی هستند که نوآوری های تأثیرگذاری در ساختار هندسی نستعلیق و فرم چلیپا داشته اند. این پژوهش با هدف بررسی ساختار فرمی دو چلیپای مشابه از سلطانعلی مشهدی و میرعلی هروی، با تمرکز بر نحوۀ کرسی بندی آنها انجام شده است. شیوۀ جمع آوری اطلاعات به صورت کتابخانه ای و مشاهدۀ میدانی است و با رویکرد توصیفی - تحلیلی انجام شده است. نتایج نشان می دهد در هر دو چلیپا، کرسی تمامی سطرها منحنی است که میتوان مقطعی از یک بیضی در نظر گرفت؛ در چلیپای سلطانعلی الگوی بیضی کرسی سطرها متفاوت است، اما در چلیپای میرعلی الگوی بیضی چهار سطر یکی است. در هر دو چلیپا حسن تشکیل و حسن وضع کلمات با توجه به انحنای کرسی هر سطر انجام شده که تأثیر کلمات از میزان انحنا، در چلیپای سلطانعلی بیشتر است. در چلیپای او ارتباط کلمات و کرسی هر سطر به نحوی است که قسمت های ضخیم کلمات در یک راستا قرار گرفته و سطر کرسی قوت تشکیل داده است. حسن وضع کلمات چلیپای میرعلی قاعده مند شده و چیدمان روی کرسی انجام شده است. چلیپای سلطانعلی بر اساس دید ّ مورب و نهایی طراحی شده، در حالی که در چلیپای میرعلی، هر سطر با دید افقی طراحی شده است.Comparison of a Similar Chalipa Seating Method by Sultan Ali Mashhadi and Mir Ali Heravi*
ultan Ali Mashhadi and Mir Ali Heravi are among the most famous Nasta’liq writers in the history of calligraphy who have had influential innovations in the geometric structure of Nasta’liq and the cross form. Mir Ali’s relationship with Sultan Ali is important in two ways. Firstly, the emergence of Mir Ali Heravi coincides with the complete domination of Sultan Ali Mashhadi throughout Khorasan so that his students were practicing calligraphy in Mashhad and other parts of Khorasan and Transoxiana, and Mir Ali, who lived in Herat, Mashhad, and Bukhara, was certainly influenced by Sultan Ali. The second important point is that Mir Ali was a student of Zineuddin Mahmoud, a direct student of Sultan Ali. Therefore, recognizing the similarities and differences between the works of these two masters of calligraphy leads to a better understanding of the developments of Nastaliq. This study aims to investigate the formal structure of two similar chalipas from Sultan Ali Mashhadi and Mir Ali Heravi, focusing on how they are seated. The method of collecting information is desk-based and has been done with a descriptive-analytical approach. Among the works of these two calligraphers, chalipas whose authenticity is not in doubt were examined and two chalipas with the same text and different compositions were used. The reason for choosing these two chalipas was the existing similarities and the differences, which makes possible a better comparison. The results show that in both chalipas, the seat of all rows is curved, which can be considered as a cross-section of an ellipse, with the difference that in Sultan Ali’s chalipa, the oval pattern of the first and third-row seats is the same and the oval pattern of the second and fourth rows is the same. In the Mir Ali’s chalipa, the oval pattern of each of the four lines is the same. In both chalipas, the arrangement of the figures is done according to the curvature of the seat in each row, but the effect of the figures is more than the curvature of the seat in Sultan Ali’s chalipa. So that the figures are rotated relative to the vertical axis and in some cases are deformed. In chalipa of Mir Ali, figures are regular and carefully executed. Letters and words are executed repeatedly and according to defined rules. Sultan Ali’s chalipa is designed based on the oblique and final view; In other words, the chalipa is performed with a horizontal view and in line with the calligrapher’s view, but during the performance, the final and diagonal view of the chalipa is also considered, which creates a complex and two-point perspective, while in Mir Ali’s chalipa, each line is designed with a horizontal view and the final view is not considered. Sultan Ali’s chalipa is designed based on the holistic view and the components serve the whole of the chalipa, but Mir Ali’s chalipa is partisan and the components have their own independence.
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