تحلیل نمادشناسی نقوش سنگ مزارات اسلامی موزه شهر اهر (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
با توجه به اهمیت موضوع معاد در جهان بینی اسلامی، مسئله تدفین در اسلام، جایگاهی ویژه دارد. همین امر سبب شده است تا در گستره وسیعی از ایران، سنگ مزاراتی با علائم و نقش های گوناگون برجای بماند. شهر اهر دارای تعداد زیادی از سنگ-مزارات است و حیاط موزه این شهر، یکی از غنی ترین مجموعه های سنگ مزارات شمال غرب ایران، شناخته می شود. این سنگ مزارات، فاصله زمانی از دوره ایلخانی تا قاجار را دربرمی گیرند که هم زمان با گسترش شهرنشینی، از مکان های اصلی خود (گورستان های داخل شهر و همچنین روستاهای اطراف)، جابجا شده و به این موزه منتقل شده اند. در این پژوهش بنیادی تلاش می شود با روش توصیفی- تحلیلی و جمع آوری اطلاعات به کمک مطالعات میدانی و اسناد و منابع کتابخانه ای، نقوش روی این سنگ مزارات با رویکرد نمادشناسی مورد مطالعه قرار گیرد. در پژوهش حاضر سعی شده است به یک سوال پاسخ داده شود: نقوش سنگ مزارات موزه اهر از لحاظ مضمون و نمادشناسی شامل چه مفاهیمی هستند؟ براساس این مطالعه، مشخص گردید که بیشتر نقوش موجود بر روی سنگ مزارات موزه اهر مربوط به دوره صفویه بوده که با انواع مختلفی از نقش-مایه های کتیبه ای، هندسی، محرابی، ابزارآلات جنگی و صحنه های روایی تزیین شده اند که شواهد مستقیمی از اعتقادات عصر خود را به نمایش می گذارند.The Iconography Analysis of the Islamic Period Grave stones in Ahar Museum
Given the importance of the issue of death and resurrection in the Islamic worldview, the issue of burial and how to do it in Islam has a special place. This has made it possible to stay in stone with many signs and symptoms from various historical periods in a wide range of geography in Iran. One of the places where a significant number of stone strata of the Islamic period have been left is Ahar, which has made the museums of the city one of the richest collections of the country's rock formations. These gravestones cover the period from the Ilkhanid to Qajar period, which were moved to the museum at the same time as the Pahlavi era and the beginning of the urbanization of its main places (cemeteries in the city as well as surrounding villages). The stone graves, which are decorated with various types of geometric, vegetarian, human, animal and inscription, are associated with the religious beliefs and beliefs of the people of this region and show direct evidence of the beliefs of their time. The present study intends to study the gravestones on the stone grounds through a symbolic approach through field studies and library studies. In this regard, an attempt has been made to answer a fundamental question in this research: What are the implications of the Ahar Museum's astronomical motifs in terms of themes and symbolism? According to the studies, the designs on the stone estates of the Ahar museum were related to the symbolic religious beliefs and in some cases, by choosing a narrative scene, the deceased was depicted in life. The cemetery can be seen as the architectural manifestation of people's attitude to the phenomenon of death. In different cultures, there is a different encounter with the dead, and after Islam, Iran is the place where the burial of the dead is carried out and the death and grave, and further, the cemetery is of particular importance. The construction of the monument in the Islamic era began as a manifestation of beliefs and practices related to the protection of the dead, along with other religious monuments, and proceeded almost parallel to it. The various methods of constructing the monuments, structurally influenced by various cultural and material factors, are in line with the religions and beliefs of the society. Although the issue of sacred ordinances in Islamic jurisprudence has different opinions, but the presence of a large number of these buildings in many Islamic countries indicates the particular status of this structure in the Islamic society. In Iran, during the Islamic period, the tomb buildings dating back to the fourth century BC, with the advent of various local dynasties in the east and north of Iran, continued throughout the subsequent Islamic periods. The important point in relation to this structure is the relationship between their structural and decorative features with the deceased person; that is, ordinary people have a more significant reputation than simple mantles and prominent people.
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