پیر حمزه سبزه پوش (بررسی تطبیقی کتیبه ها و نقوش تزیینی دو محراب گچبری مسجد جامع و بقعه پیر حمزه سبزه پوش (عزیز الدین نسفی) ابرکوه استان یزد) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
محراب های گچبری ایران از نظر هنری و سابقه ی تاریخی دارای جایگاه ویژه ای هستند. مدیریت و ساماندهی این محراب ها که بیشتر مربوط به قرون ششم تا هشتم هجری قمری می باشند، توسط هنرمندانی رقم خورده که اوج هنر خود را در تزیین مکانی به کار گرفته اند که محل خضوع و خشوع انسان در برابر خالق بزرگ است. سبک های متنوع چه در شیوه اجرا و چه در ابداع کتیبه ها و نقوش که بعضاً سابقه ی نقوش ساسانی در آنها عینیت دارد، جزء شاهکارهای هنری به حساب آمده که بخش عمده ای از آنها در مناطق مرکزی ایران پخش هستند. در این مقاله که به صورت میدانی و کتابخانه ای کار شده است، دو نمونه تاریخی ارزشمند شهرستان ابرکوه در استان یزد شامل محراب مسجد جامع ابرکوه، مربوط به قرن هشتم هجری قمری و بقعه پیر حمزه سبزه پوش یا عزیز الدین نسفی متعلق به قرن ششم هجری، مورد بررسی قرار گرفته و تفاوت ها و شباهت ها را مورد تحقیق قرار داده ایم. با توجه به فاصله دویست ساله دو محراب و قرار داشتن در موقعیت جغرافیایی واحد، تزیینات انجام شده در این دو محراب می تواند ما را در شناخت ویژ گی های زیبایی شناسانه این دوره ها یاری دهد.pir-hamzeh sabzeh-poosh
Iran central plateau is considered to be historically important due to the remained religious, historical, and cultural locations survived from ages ago. Abarkuh, as one of the towns in Yazd province, and the one which is 140 kilometers far from the center of the province, is considered to be historically important. Moreover, this city is geographically related to Esfahan and Shiraz. Since this city was located on the Silk Road in eighth century, it had a commercial significance in that area. There are some glorious constructions such as the Jāmeh mosque, the Aali vault, Nezamiyeh minaret, the old houses, and even some natural attractions such as the old cedar (4000 years old) that made this area attractive for visitors. In addition to the foregoing, the extension worked on the mosques and houses have been considered important. Moreover, its Stucco techniques are unique. The two Stucco altars of this city are considered to be artistically significant. One of these altars is the one in the Jāmeh mosque of abarkuh constructed in the eight century and the other one is in the monument of Pir-Hamzeh Sabzah poosh (Aziz-o-din nasafi) which is constructed in the fifth century. It is worth mentioning that the Jāmeh mosque of abarkuh has Mughal architecture. This mosque has some other stone and tile altars one of which is now protected in ancient Iran museum. On the other hand the tile altar which is now located in the mosque can be seen as a great design of the mosque. The other altar which is also unique is located in a building called the monument of Pir-Hamzeh Sabzah poosh, and it has a very simple design and construction. According to the researchers this place is the grave of a great and respected man guessed to be Aziz-o-din nasafi who was one of the Mystics and writers of the seventh century. This study, which is conducted in the intended locations and libraries, has explored the different parts of both altars. Moreover, it has provided an introduction for each of them and compared the different parts of these two constructions such as the big and small margins foreheads, Arch, under arches, Pendentive, columns, and the decorative figures in epigraphs. It is worth mentioning that both of the altars have been decorated with kufi letters and various writing styles that have mixed Kufi letters with plants and flowers. Both altars have some innovation in this regard. Kufi letters have little variety in the altar located in the monument; however, the Steady rhythm and the interaction between the flower forms in the original epigraph are appreciable. As a whole, the Saljooghi altar of Pir-Hamzeh Sabzeh-poosh can be defined with some characteristics such as roughness and at the same time dynamic, while the altar of the Jāmeh mosque have emotion passion and happiness. It is worth mentioning that this article has been extracted from the M.A thesis of the researcher. This study was conducted and defended in July, 2012 in visual art faculty of Tehran University.
تبلیغات
