سیر تطوّر جاذبه های بصری «ی معکوس» در کتیبه های ثلث از عصر مغول تا صفویه (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
قلم ثلث دارای ارزش های بصری والایی در خوشنویسی اسلامی و منطبق با اهداف و کارکرد تزئیناتِ معماری است. بررسی روند تطوّر و تحوّل«ی» معکوس در کتیبه های ثلث نشان می دهد که این حرف از دوره ایلخانی تا اوایل عصر صفوی اغلب به صورت کوتاه و مورّب نگاشته می شد اما از نیمه عصر صفوی از «ی معکوس شالی یا قطاری » برای تقسیم کرسی بالا و پائین و ایجاد توازن و تعادلِ حروف در کتیبه نگاری ثلث استفاده بیشتری شد. پژوهش حاضر با روش توصیفی - تحلیلی و با عطف به کار میدانی در خصوص کتیبه های ثلث انجام گرفته است. نتایج این مقاله مویّد آن است که تطوّر «ی» معکوس از نوع کوتاه به بلند (قطاری) مبتنی بر دو عامل ملاحظات خوشنویسی از منظر ترکیب و حُسن همجواری و ضرورت انطباق خط ثلث با جلوه های بصریِ معماری اسلامی بوده است. همراه با عوامل گفته شده، از به کار گیری نوع مواد و مصالح، نحوه دورگیری، تراش و ساخت کتیبهها از عصر ایلخانی تا دوره صفوی نیز نباید غافل ماند. مجموع این عوامل، ضمن آنکه کتیبه های ثلث را از منظر ترکیببندی و انسجام کلی حروف و کلمات تقویت می کرد، بر زیبایی و هماهنگی این نوع اجرا با ملاحظات بصریِ معماری نیز تأثیر بسزایی نهاد.A survey of changes in visual attractions of the reverse Y in Sols epigraphs from the Moghol era to Safavid era
The present essay is concerned with one of the most important visual aspects of the Tholth script which is “Y-e- makus” (the reverse Y) in epigraphy which has been reflected in the Iranian architecture. The epigraphs have been created in correlation with the growth and variety of the style Islamic scripts and also the evolution of architecture that has given a significant visual aspect to Islamic art. The Tholth script which replaced the Kufic script since the Migrate sixth century in Islamic epigraphs is one of the most important of the Islamic scripts. Considering the importancee of the scrip it is sometimes called “um-al khotut” (mother of scripts) which has great visual attractions in calligraphy and architecture. Considering the survey of Iranian architecture from the Ilkhanid era until the end of the Safavid era, new experiences were being applied in the Tholth epigraphy and this created the foundation for the creativity of epigrapher An important part of the great works of epigraphy should be seen in light of the overlapping interactions of Calligraphers and architectures that led to the correction and evolution of scripts in Tholth epigraphy. One of these important creativities is the reverse Y in Tholth epigraphy. The reverse Y in Koranic scripts has been executed beautifully which has been used among side of other Islamic scripts. Calligraphers have created great kinds of the reverse Y while considering its function in architectural design and framing. The reverse Y in Ilkhanid Tholth epigraphs were usually scripted in short italic forms. But in later eras specially in the Teimurids they were written in straight, clear and more frequent forms. The necessity of baseline and composition in Islamic calligraphy and also its importance in Tholth epigraphs led to using the reversed Y in new and segmented lower and upper cases and also the division of letters. This feature was seen mainly in the epigraphs of Safavid era, mainly from the time of Shah Abbas the 1st. One of the features in epigraphs of the Safavid era was the using of Tholth more than other styles; thus many architectural sites had Tholth epigraphs . In Tholth epigraphs of this era the visual values of the reversed Y was more vivid. With the application of Qataari Y, Shali or Kamarbandi the context of using these styles on the Y facades of buildings became phenomenal,. Mainly Qataari Y was used on the rings of domes, entrances and Mihrabs. These styles supported the consistency of the building much more than the materials All in all the application of the reversed Y in epigraphs , to its from its primary abstraction to italicization, to its glorious era in the Safavids was in harmony with the aesthetic needs of both architects and calligraphers The current of the visual and aesthetics of the reverse Y in epigraphy witnessed a change from the diagonal and short Y to the reveres belt Y, which was based on observations, architectural experiences, calligraphy. A process that was of course time consuming
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