بررسی تزیینات معماری سنتی ایران از منظر دیوار نگاری (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
دیوارنگاری در این مقاله صرفاً به نقاشی های فیگوراتیو با تکنیک فرسک یا تمپرا اطلاق نمی شود؛ بلکه بررسی رابطه بین اثردیواری با محیط، معماری و مخاطب بعنوان سه عامل ارزش گذار در دیوارنگاری مورد نظر بوده است. ارتباط دیوارنگاره های اسلامی با معماری، محیط، مخاطب و چیستی عوامل موثر در ارتقائ یک اثر، از مرتبه تزیین به اثری دارای اصالت های هنری سوال اصلی این پژوهش بوده است. در این مقاله، به جایگاه دیوارنگاری در معماری سنتی ایران (دوره اسلامی) و نقش آن در ساماندهی بصری فضاهای معماری پرداخته شده است. با توجه به اینکه در اغلب منابع و تحقیقات انجام شده توسط محققین، دیوارنگاره های این دوره تحت عنوان تزیینات معماری مطرح گردیده است، ویژگی ها ،محدودیت ها و اشکالات این نام گذاری نیز بررسی گردیده است. در ادامه دیوارنگاره های دوره اسلامی ایران به دو دسته کلی مذهبی و غیرمذهبی تقسیم بندی شده و ارتباط های فرمی، معنایی و مفهومی این آثار با محیط پیرامون و معماری حاکم و مخاطب مورد بررسی قرارگرفته و مقایسه ای بین دیوارنگاره های مسجد شیخ لطف الله و کاخ عالی قاپو به عنوان دو شاخص دیوارنگاری مذهبی و غیر مذهبی صورت گرفته است.The Study of Iran's Traditional Architectural Ornament from Mural Painting View
In this article, Mural simply figurative wall tempera technique or fresco painting does not apply, but this study attempts: first, the relation between trace –wall and environment, wall architecture and evaluation of the audience and murals necessary that the three effective factors in successful mural painting. And then the challenge the notion of murals of the architectural world of Islam for many years been considered with regard Westerners as architectural decoration, should be considered. Therefore, contact with the wall paintings of Islamic architecture, the environment, the public and the factors that promote a work order to trace the art decorated in Islamic art origin is not only important but it is considered a necessity, something that the main research question. The article has studied the place of mural painting in Iranian traditional architecture (Islamic period) and its effect on visual organization of architecture spaces. Considering the mural painting of this period has been seated as decorations of architecture, in must sources, surreys and researches which have been done by researchers, the feature, limitations and difficulties of such titling have been studied. It works as a decoration in Islamic architecture; the architecture is often defined parameters set forth in the works that is also true fresco. But, according to the terms of institutionalization" architectural decorations" in the literature of Iranian art and Islamic architectural decoration to place the mural, which implies the Islamic period. But the question arises, why, what are the reasons for division mural two groups, the "architectural decorations" and murals? Seems to be the basis of this classification can be important for many reasons it will be as follows: 1) lack of understanding and precision in terms of 2) lack of attention to environmental quality and functional architecture in the Islamic period, and the conditions governing the formation of the visual wall 3) lack of understanding of the aesthetic values of Islamic murals by Western scholars 4) based on their originality and artistic aspects of the view figurative and narrative perspective of Western man 5) is equivalent to non-figurative term relief decoration 6) The original technique (also equivalent fresco and tempera). Then, the religious and secular murals Iran, generally divided into two categories: so in this study the formal and conceptual relationships wall painting evaluated with the environment, architecture and their audience. But the comparison between murals Sheikh Lotfollah mosque and palace which Aly-Qapu , below the wall as religious and secular is made. the following has studied the Iranian mural painting in Islamic period which is classified in two main groups of relies and non-religious and the forming, meaning full and conceptual relations of these works with environment, architecture and the person who is watching .and a comparison between mural paintings of sheikh Lotfollah mosque and Aly-Qapu palace has been made as two indexes of religious and non-religious mural painting.
تبلیغات
