مطالعه تطبیقی حمد میرعماد حسنی قزوینی و میرزا غلامرضا اصفهانی از منظر مؤلفه های زیبایی شناختی حُسن تشکیل و حُسن وضع (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
میرعماد حسنی قزوینی(961 ه.ق) از مشهورترین خوشنویسان تاریخ هنر ایران در عصر صفویه، توانست پایه خط نستعلیق را چنان مستحکم نماید که تمام صاحبنظران خطوط اسلامی، آن را عروس خطوط بنامند. میرزا غلامرضا اصفهانی (1246ه.ق) از نوادر خوشنویسی دوره قاجار نیز، شخصیتی جامع با شیوه خاص در تاریخ خوشنویسی ایران است. در بررسی آثار این دو هنرمند تفاوت هایی آشکار در اجرای قطعه نویسی مشاهده می شود. هدف از این پژوهش، شناخت شیوه خوشنویسی میرعماد حسنی قزوینی و میرزا غلامرضا اصفهانی و تطبیق قطعه خوشنویسی شده از سوره فاتحه الکتاب توسط این دو هنرمند از منظر مؤلفه های زیبایی شناختی حسن تشکیل و حسن وضع است. پرسش های پژوهش عبارت اند از: 1-مؤلفه های زیبایی شناختی شیوه خوشنویسی میرعماد قزوینی و میرزا غلامرضا اصفهانی کدامند؟ 2- وجوه اشتراک و افتراق و مزیت های حسن تشکیل و حسن وضع در اثر میرعماد و میرزا غلامرضا از منظر مؤلفه های زیبایی شناختی مطرح شده چیست؟ برای پاسخ به پرسش ها ابتدا مفردات، سپس کلمات و در پایان، ترکیب بندی و شیوه کرسی بندی دو اثر موردبررسی و واکاوی زیباشناسانه قرار گرفته است. از نتایج این پژوهش می توان به فهم در نوع کتابت، نحوه اجرا و چینش حروف در آثار این دو هنرمند به عنوان مزیت های حسن تشکیل و حسن وضع اشاره کرد. همچنین تفاوت شیوه نگارش آنان ناشی از اختلاف در زاویه قلم گذاری، ترکیب بندی و چیدمان حروف است.A comparative study of the calligraphy of Al-Fatiha Chapter (Surah) by Mir Emad Hassani Qazvini and Mirza Gholamreza Isfahani in terms of aesthetic Components of Good Formation and Good Establishment
Nasta'liq script developed and grew with certain characteristics during its six hundred years of history, after its formation and emergence by the efforts of calligraphers of each period. As some of the leading calligraphers, with new initiatives and creativity, promoted the beauty and evolution of Nasta'liq script. Among them, we can mention the works of Mir Emad Hassani Qazvini and Mirza Gholamreza Isfahani. Mir Emad Hassani Qazvini (961 AH) is one of the most famous calligraphers in the history of Iranian art in the Safavid era. He was able to strengthen the foundation of the Nasta'liq script so that all scholars of Islamic calligraphy would call it the bride of calligraphy. Mir Emad had an unattainable position and unparalleled skill in composition, the way the letters and words of calligraphy were placed in the line, the crucifixion and the choice of the correct angle of engraving. Mirza Gholamreza Esfahani (1246 AH) Calligrapher of the Qajar period is also a comprehensive figure with a special style in the history of Iranian calligraphy, which is one of the rare calligraphers of the Qajar period. Mirza Gholamreza has mastered writing in all common forms and forms of calligraphy and has created new methods, especially in the form of black and white. In examining the works of Mir Emad Hassani Qazvini and Mirza Gholamreza Esfahani, we encounter obvious differences in the performance of piece writing; The purpose of this study is to know the calligraphy style of Mir Emad Qazvini and Mirza Gholamreza Isfahani and to study two calligraphic pieces from Surah Al-Fatiha al-Kitab by these two artists in accordance with the aesthetic components of good shape and good position. The research questions are: 1- What are the aesthetic components of Mir Emad Qazvini and Mirza Gholamreza Isfahani calligraphy? 2- What are the commonalities and differences and the advantages of good formation and good condition due to the praise of Mir Emad and Mirza Gholamreza in comparison with the aesthetic components mentioned?To answer the questions, first the contents 1, then the words and finally, the composition and the style of the 2 chairs, the two works have been studied and aesthetically analyzed.Similarly, while presenting a short introduction of the two artists and examining the way they created their works, a comparison has been made between similar calligraphic pieces of the two. In this way, the aesthetic features, individual methods, creation process, aesthetic components of good shape and good position in Mir Emad Hassani Qazvini and Mirza Gholamreza Isfahani's Al-Fatiha (Surah Hamad) have been studied. In a similar way, differences and commonalities in two works of these artists have been analyzed according to the aesthetic components of good shape and good position. This research is a basic research with descriptive-analytical method and comparative approach. Data collection is in a library manner and by observing the works and the findings are analyzed qualitatively. The results of the research confirm that the difference in the writing style of the two artists is due to the difference in the angle of writing, composition and arrangement of letters.
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