بازشناسی فرم و مضمون موجودات زنده غیر انسانی در کاشی های زرین فام امامزاده علی بن جعفر قم (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
پژوهش پیش رو با هدف بررسی بازتاب موضوعات اجتماعی در نقوش موجودات زنده در کاشی های زرین فام در بنای مذهبی و آرامگاهی است. بر این اساس تلاش می شود تا به ماهیت نقش مایه های موجودات زنده و بکارگیری آن ها در بنای آرامگاهی علی بن جعفر قم و به موازات آن نقاشی دیواری امام زادگان طیب و طاهر پرداخته شود. اصلی ترین پرسش های مطرح شده بدین قرار است:۱- منبع تصویری موجودات زنده غیر انسانی کاشی های زرین فام بقعه علی بن جعفر قم چه بوده است؟ ۲- استفاده از نقشمایه های موجودات زنده در این بنای مذهبی در راستای چه ایده هایی شکل گرفته؟ بررسی ها نشان داد که فرم و موضوع نقشمایه ها با نمونه های تصویر شده در نسخه قرن هفتمی عجایب المخلوقات قزوینی مطابقت دارد. با این هدف که با زبانی ساده به مردم نشان دهد که همه چیز این دنیا جزیی از نمود آفریدگار است که شاید ناشی از همان دیدگاه وحدت وجودی باشد که ابن عربی استاد قزوینی مطرح می کند. این عقاید با سوگیری های فکری بانیان احتمالی بنا یعنی خاندان صفی در قم نیز هم راستا بوده. توجه به نقشمایه های عجایب المخلوقات به استناد نقاشی های دیواری امامزاده طیب و طاهر تا قرن ها بعد ادامه داشته است.Recognizing the Form and Content of Non-human Figural Representation in the Luster Tiles of Imamzadeh Jafar Qom
This research aims to investigate the reflection of social issues on patterns of living beings designed in religious buildings and tombs. To achieve this goal, the focus will be on the motifs of living beings in the Ali-Ibn-Jafar Shrine, located in Qom in the center of Iran. In addition, we will also study the wall paintings of Imamzade Tayyeb and Tahir Shrine. Although depicting living beings in religious buildings has not been permitted in Shiism, these patterns have been used in Shia Holly places, manifested in Zarinfam tiles (luster tiles). So, the main questions are as follows: (1) What were the primary sources of inspiration for depicting non-human living beings in these religious places? (2) What was the main goal of using such motifs of living beings in these religious buildings? After comparative research on motifs of non-human living beings and illustrated religious books, a significant number of similarities was found. These representations' form and subject matter correspond to cases depicted in the Ajaieb-Al-Makhloughat written by Qazvini in the 7th century (Table 1). From our point of view, such coordination and similarity cannot be accidental. It can explain why different animals, such as a boar, an elephant, a winged fish, and a dragon, are depicted in these religious buildings. The wall paintings of Imamzadeh Tayyeb and Tahir (Table 2) provide further confirmation of the use of the living creatures motifs. These wall paintings, which, unlike the tiles, have no possibility of being moved, are similar to the original and Qajar versions of Ajaieb-Al-Makhluqat. This comparative research brings us to the conclusion that Ajaieb Al-Makhluqat was at the center of attention in the decoration of Shia tombs in Qom for several centuries. After finding such a significant connection, our research focuses on this question: who was Qazvini, the author of this book? Our research has shown that he was a Shia scientist, educated in Fiqh (Islamic jurisprudence), a Sufi, and familiar with philosophy and mysticism. One of his methods of explaining complex scientific and religious matters in an understandable way to the public was using illustrations. In his writings, he points to two main attributes of God's righteousness and being the Creator. Most of his treatises have the color of preaching and guidance. Using the picture of living creatures in paintings of religious places seems to have a similar message. Using this type of expression of ideas could be a suitable and understandable way of showing to ordinary people that everything in this world represents the Creator, God. This view can also be rooted in the theory of the existential unity proposed by Ibn Arabi, who was Qazvini’s mentor. In addition, a few pieces of evidence of the founders of this building, completed in the post-Ilkhani period, show that the Al-Safi family in Qom generally had been affected by Qazvini's ideas. They were lovers of knowledge and Shiism, and familiar with mysticism.
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