طرح و نقش منسوجات کاربردی (غیرجامگانی) در اوایل عصر ناصری با نظر به نگاره پردازی های هزارویک شب صنیع الملک (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هزارویک شب صنیع الملک، منبع تصویری مردم نگار به حساب می آید که با جستجو در آن می توان ظرایف فرهنگی عصر ناصری را مورد مطالعه قرار داد. در سوی دیگر، طرح و نقش منسوجات دورۀ قاجار هستند که در کاربردی جز تنپوش، کمتر محل بررسی بوده اند. هدف این پژوهش، جستجو در خصایص طرح و نقش این انواع با نظر به تصاویر هزارویک شب صنیع الملک است که امکان گمانه زنی دربارۀ شیوه های تولید را نیز فراهم خواهد آورد. بدین تقریر پرسش آن است: با نظر به تصاویر هزارویکشب صنیع الملک، طرح ها و نقوش منسوجات غیرملبوس در عصر ناصری چگونه و در چه قالبی تعریف می شود؟ با نظر به دستاوردهای مطالعات پیشین و به احتمال، طرح واگیرهای و نقش بته جقه در منسوجات کاربردی در زندگی روزمرۀ رواج بیشتری داشته است. بهرغم این فرضیه، نتیجۀ مطالعه به شیوۀ توصیفی-تحلیلی به مدعای نمونه گیری طبقه بندی احتمالی هجده تصویر از هزارویکشب صنیع الملک نشان می دهد: در این دوره، حداقل پارچه های بدون طرح، واگیرهای، قابی، محرمات، محرابی و ترنج دار با نقوش گیاهی طبیعت گرا و انتزاعی ازجمله بته جقه و اسلیمی در تهیۀ منسوجات غیرجامگانی به کار می آمده که برخی با تکنیک های بافت همچون دارایی، طرح اندازی شده اند و برخی دیگر با عملیات تکمیلی همچون چاپ، نقش گرفته اند. در این بین، محرمات همچون ترمه از پرکاربردترین انواع بوده و در تنوع وسیع نسبت به سایرین استعمال می شده است.Patterns and Motifs of Applied (Non-Clothing) Textiles in the Early Nasseri Era in light of Sani-al-Molk’s Illustrations in One Thousand and One Nights
ani-al-Molk’s One thousand and One Nights is considered an ethnographic source that can give the readers an insight into the cultural delicacies of the era of Nasser al-Din Shah Qajar. Yet, there is little research on the common nonclothing textiles of the Qajar era. This study explores the patterns and motifs of these textiles based on the illustrations of One Thousand and One Nights, which certainly provide clues as to how the textiles were made. With this in mind, the question is: “Based on the illustrations of One Thousand and One Nights, what patterns and motifs were used in the non-clothing textiles of the Nasseri era? It is hypothesized that the Vagirei (repeated in length and width) and Paisley patterns were the most widely used patterns in the textiles of the Early Nasseri Era. However, the results of a descriptiveanalytical desk-based study conducted using the stratified probability sampling method based on eighteen illustrations of One Thousand and One Nights reveal that : non-clothing and applied in household consumption textiles such as curtains, furniture, cushions, underlays, quilts, tablecloths, wall coverings, etc. were used in a variety of patterns and motifs including the simple pattern and Vagirei, Ghabi (frame-based), Moharramat (striped), Afshan (scattered flowers), Mehrabi (praying cloth) and Toranjdar (Bergamot) with natural and abstract plant-based motifs such as Paisley and arabesque patterns during the early Nasseri era. Thus, contrary to the first hypothesis, the patterns and motifs used during this era had a broader range than the induced patterns. Among the patterns, simple fabrics were used more for curtains and furniture. However, the Vagirei pattern with the plant-based design was also rarely used in these textiles as well, but the Vagirei and Ghabi designs with natural and abstract plant-based motifs (especially the Paisley) were used more often in the production of bed covers. Simple Ghabi patterns in checkered forms were also sometimes used in bed-clothes wrappers. The illustrations show that the Moharramat pattern was a common pattern during the early Nasseri period. The Afshan pattern with small flowers was rarely used on tablecloths, cushions and bed covers. Regarding the Mehrabi patterns with the abstract motif of cypress as well as the Toranjdar patterns with arabesque motifs, they have been used on wall coverings and curtains, types that are formally reminiscent of ikat and Ghalamkar fabrics. The illustrations not only give us clues as to patterns and motifs, but also convey the message that the simple fabrics were something like velvet or satin, and the Moharramat types were woven with the simplest textile machines or the ikat technique were made of cotton and silk depending on their use. Termeh fabrics used to make bed covers had a woolen material and were of the ikat, silk or cotton types. It seems that Mehrabi and Toranjdar fabrics were also produced using the Ikat weaving method or by additional operations such as printing and embroidery on cotton fabrics. Finally, regardless of the material and production method, Moharramat types such as Termeh were the most widely used types of all.
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