سرخ فامی و تندرنگی در معماری قاجار، رنگ پژوهی بر روی 20 پوشانه ی حوضخانه های تبریز (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
رنگ به عنوان یکی از عناصر زیبایی شناختی در معماری ایران، همواره از جایگاه ویژه ای برخوردار بوده است. هدف این پژوهش، رنگ شناسی معماری دوره ی قاجار و راستی آزمایی انگاره ی تندوتیزی و سرزندگی رنگ های به کاررفته، از طریق پایش فراوانی فام ها و پرمایگی رنگی پوشانه های این دوره است. به این منظور تعداد 20 پوشانه از حوضخانه های متعلق به خانه های قاجاری تبریز، انتخاب و مشخصات و محدوده های رنگی آن ها با استفاده از سامانه های رنگ مانسل و ISCC-NBS شناسایی شد. همینطور داده های برگرفته از تصاویر ترسیمی، مبنای تحلیل های رنگ شناسانه ی پژوهش قرار گرفت. روش تحقیق از نوع توصیفی-تحلیلی است. یافته ها نشان می دهند پالت رنگ آمیزی پوشانه ها، عمدتاً شامل سه فام «قرمز، آبی و سبز» است که رنگ های متعلق به فام قرمز با 36/33%، در رتبه ی نخست کمیت قرار دارند. سنجش میزان پرمایگی رنگ ها بیان می کند که غالب رنگ های به کاررفته از گستره ی رنگی با درجه ی اشباع بالا انتخاب شده اند و این خصیصه، آن ها را در محدوده ی سرزندگی جای می دهد. رنگ سفید، در کنار رنگ قرمز، از حضوری چشمگیر در ترکیب رنگی پوشانه ها برخوردار است و در جلوگیری از تراکم و انباشتگی رنگی، نقشی کلیدی ایفا می کند. این موضوع نشان می دهد طراحان و معماران قاجاری این شهر از درایت و مهارت بالایی برای ساماندهی رنگی برخوردار بوده اند.The Red Hue and Color Sharpness in Qajar Architecture, Color Research on 20 Springhouse Ceilings in Tabriz
Being one of the aesthetic elements, color has always held a significant position in Iranian architecture. Observation of the works of architecture remaining from the Qajar era suggests the idea that sharp colors have had a greater application and have been more warmly embraced. For this purpose, the houses in Tabriz –the city known as Qajar Princes’ place of residence and home to some of the best set of residential buildings- have been selected for the present case study. On the other hand, springhouses have always had distinct ornaments and striking colored ceilings given their pivotal role for family get- togethers. In other words, the main reason behind choosing the ceilings of these spaces for the present case study is their distinguished and unparalleled position compared to the other structural canopies in similar spaces. The present study seeks to investigate the chromatology of Qajar era architecture and verify the idea indicating the sharpness and vividness of the colors used in it through monitoring the frequency of hues and chroma of the ceilings from this era. The study seeks to answer the following questions: Which hues are more widely present in the case study? Which level of chroma would the colors used be categorized into, and does this level of chroma place them in the vividness range? The statistical population comprised 43 ceilings, all of which were determined through field study and filtered based on the important criteria of the presence of color, authenticity, and health. Eventually, 20 ceilings that were mainly remaining from the Qajar era were selected, and their color ranges were identified using Mansell and ISCC-NBS color systems. The reflected plan of the ceilings was then drawn and color contents were calculated through field study, photographing, and the use of drawing and illustration software. The research method was descriptive-analytic and data collection was carried out through desk research and field study. Results indicated that the color palette (frequent colors) of the ceilings mainly included the three hues of "red, blue, and green", with the colors from the red hue ranking first in terms of quantity at 36.33%. Color chroma assessment indicated that most (81.48%) of the colors used have been selected from a color range with high chroma levels which appears to be a deliberate strategy to imply more sharpness and articulation. The result of such an architectural taste is the dominant establishment of the used colors in the vivid range, a taste that has probably been close to the preferable color taste of its time. The impressiveness of the ceilings' color coordination is undoubtedly largely owing to the presence of the color white. This color has appeared in an embossed form and saved the final composition from color accumulation and chaos by enclosing the colors. Falling into the category of unpainted materials, the color white has a quantity almost equal to the red hue at 35.9%, which indicates that Qajar architects and designers had a great level of artistic skill and wisdom to manage and organize colors.
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