مطالعه فرمی و ساختاری کتیبه های نستعلیق در مساجد قاجاری اصفهان و مقایسه آن با نمونه های مشابه صفوی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
بسیاری از کتیبه های نستعلیق قاجار، توسط خوشنویسانی مانند آقا محمد باقر سمسوری و فتح الله جلالی، که در زمره پیروان میرعماد و محمد صالح اصفهانی به شمار می روند، نوشته شده است. اصلی ترین سوال این پژوهش بنیادی این است که مهمترین تحولات فرمی و ساختاری کتیبه های نستعلیق در مساجد قاجاری اصفهان چیست؟ بدین جهت، ضمن بررسی جامعه آماری مورد نظر، بر اساس روش نمونه گیری طبقه بندی پسین، نتایجی قابل توجه حاصل شده است. مساجدی چون مسجد سید، رحیم خان، رکن الملک، کرمانی و صفا، پنج مسجدی هستند که کتیبه نستعلیق در تزئینات آنها دیده می شود. مطالعه روند تاریخی اجرای این کتیبه ها، نشان دهنده وقفه طولانی مدت در اجرای کتیبه های نستعلیق در طول سده 13 ه.ق است که به نظر می رسد، این روند کند با شتاب چشمگیری از نظر تعداد و تنوع، در اوایل سده 14 ه .ق احیا شده است. تنوع رنگی بالا، تزئین پس زمینه قاب بندی ها و نیز نوآوری در فرم قاب ها، را می توان از جمله نوآوری های قابل توجه نمونه های قاجاری در مقایسه با نمونه های صفوی دانست. دستاورد دیگر این پژوهش، شکل گیری تفاوت های قابل ملاحظه در زمینه اجرای کتیبه های قاجاری، نسبت به دوره صفوی است. جالب اینجاست که در جامعه آماری نمونه های قاجار، از کتیبه های گچی به عنوان زمینه استفاده نشده و بیشتر کتیبه ها به شیوه کاشی خشتی اجرا شده اند.The formal and structural study of Nastaliq inscriptions of Qajar mosques in Isfahan and comparison with similar examples of Safavid
Calligraphy, as a prominent art incorporated into Persian and Islamic architecture, supplys messages and brings beauty to the eyes of the beholder. The most important messages in architecture are directly expressed by inscriptions. Different types of inscriptions are shaped in the form of mosaic works, multiple painted patterns, tiles, bricks or plaster techniques. Although in qajar period traditional methods were continued, but new ideas, design and methods can be witnessed in qajar dynasty artists work. The principal characteristic of epigraphy in Persia after the advent of the Safavids is the emphasis on Persian poetry and pious Shiʿite texts with an iconographic potency and deliberate frequency unknown yet. Arabic remained the language of koranic and Hadith quotations while Persian became increasingly prominent through its use for historical and poetic inscriptions in both architecture and decorative arts. Cursive scripts, especially ṯolṯ and nastaʿlīq supplanted the earlier Kufic and its variants in all but the essentially decorative repeat patterns in secondary positions. There are no systematically recorded or analyzed collections of inscriptions for this period, nor are there any comprehensive architectural surveys as there are for the Il-Khanid and Timurid periods. The essential source for Safavid inscriptions is Honarfar’s work on Isfahan, the city whose buildings provide the substance of Safavid monumental inscriptions in general. Apart from Isfahan, major Safavid, Zand and Qajar inscriptions survive in buildings in Ardabīl, Kermān, Qom, Mašhad, Shiraz, Yazd, and Tehran as well as in the Māzandarān region. Undoubtedly, one of the attractions of Qajar calligraphy is decisive and significant presence of Nastaliq in this era’s inscriptions. In fact, the masters of Nastaliq in this period are belonged to the last generation of calligraphers which highlighted Nastaliq. Great calligraphers such as Mohammad Bagher Semsuri, Fathollah Jalali, Abdorrahim Afsar, and the others who were the followers of Mir-emad and Mohammad Saleh Isfahani. The main aim of this research is identify of fundamental and structural changes in the form of Nastaliq inscriptions of Qajar mosques. Mosques: Seyyed, Roknolmolk, Rahim Khan, Kermani and Safa; are five mosques that decorated by Nastaliq inscriptions. According to this, in this investigation, a number of Nastaliq inscriptions in Qajar mosques in Isfahan introduced and studied as the main purpose. Therefore, about 20 inscriptions selected and have been studied. Based on the cases study, some conclusions were reached. Variety of colors, decorate the background frame and innovation in the form of frames, including innovations of Qajar samples compared with samples of the Safavid dynasty. Another point of considerable differences in the Qajar and Safavid inscriptions are the common techniques. For example, in the studied samples, there are no stucco inscriptions. Instead of that, Haft-Rang inscriptions are dominant. This method used in tile decoration since Timurid dynasty and raised in Safavid and Qajar dynasty. The first usage of Haft-Rang in inscriptions was at early 11th century A.H (17th A.D).In addition, a number of artists and craftsmen of Qajar in the inscriptions mentioned in the text is addressed. Keywords: Nastaliq Inscriptions, Qajar Calligraphy, Qajar Mosques, Mosques of Isfahan
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