واکاوی ریشه های شکل گیری فرم و تزیینات شمعدان اژدها از دوره تیموری بر مبنای فلسفه نور سهروردی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
یکی از دغدغه های طراحان در جهان امروز، طراحی محصولاتی است که دارای بیشترین هماهنگی با زمینه فرهنگی و روحیات مخاطب باشد. در جهان یکپارچه شده امروز، برخی فرهنگ ها با تعمق در ریشه های فرهنگی خود، علاوه بر دستیابی به ماندگاری طرح نزد کاربر، سعی در ایجاد تمایز در بازارهای محلی و جهانی دارند. بخشی از نمود فرهنگی یک تمدن در قالب مصنوعات باقیمانده از گذشته نمایان می گردد. ایران نیز دارای ریشه های فرهنگی است که در قالب اشیاء از روزگاران گذشته به یادگار مانده است. این مصنوعات منبع ارزشمند الهام برای طراحان در خلق فرم هستند. در این مطالعه شمعدان با طرح اژدها از دوره تیموری جهت پژوهش انتخاب گردید تا ریشه های فکری طراح اثر بر مبنای فضای فلسفی حاکم بر آن زمان بررسی شود؛ شاید که راهگشای طراح عصر حاضر باشد. مطالعه حاضر به روش توصیفی- تحلیلی انجام شد و داده ها از طریق مطالعه متون و بررسی انطباقی فرم و تزیینات شمعدان بر مبنای فلسفه شیخ اشراق، سهروردی در حوزه نور جمع آوری و به روش کیفی تحلیل گردید. یافته ها حاکی از آن است که به-کارگیری قواعد پیشرفته هندسه که در طراحی هنرمندان مسلمان ایرانی در گذشته مرسوم بوده، بازاندیشی در فلسفه فکری حاکم بر تفکر و در گام بعد آثار گذشتگان و ترجمه این داشته ها به زبان مخاطب امروز، تمایز اثر طراح ایرانی را در جهان هنر و صنعت سبب خواهد شد. مطالعه و بررسی ریشه های عمیق فکری محصولات به یادگار مانده از گذشته و بهکارگیری این اصول در طراحی محصول امروز، سبب ماندگاری محصول در سطوحی عمیق تر نزد مخاطب خواهد شد.Analyzing the roots of form creation and decorations of Dragon candlestick from the Timurid period Based on Suhrawardi's philosophy of light
One of the concerns of designers in today's world is to design products that are most in harmony with the cultural background and mood of the user. In today's homogenous world, some cultures, by reflecting on their cultural roots, try to differentiate themselves in the local and global markets, in addition to achieving the permanence of the design with the user. A part of the cultural appearance of a civilization appears in the form of artifacts left over from the past. Iran has cultural roots that have been preserved in the form of objects from the past. These artifacts are a valuable source of inspiration for designers in creating form. In this study, a candlestick with a dragon design from the Timurid period was selected for research in order to examine the intellectual roots of the candlestick designer based on the philosophical atmosphere prevailing at that time, perhaps it will be a path-breaker for the contemporary designer.
The study was done by descriptive-analytical method and the data was collected and analyzed through literature review and the adaptive examination of the form and decorations of the candlestick based on the philosophy of Sheikh Eshraq, Suhrawardi about light. After exploring the political and social conditions governing the society during the period of the creation of Dragon candlestick and the place of the art of metalwork in this period, the philosophy governing the artist's time was analyzed focusing on the issue of light. The origin and basis of Timurid forms and motifs lies in the geometry that has mystical roots and is a network of circles and radial lines from which the mystical concept of light can be understood.
The findings indicate that for create the form, the designer must examine the deep intellectual roots that have continued to exist over time, in addition to the user's cultural background and the product, in addition to meeting the need for which it was designed, remains with the user at a deeper level. In This case, the combination of two entwined dragons with an open mouth that houses the candles and a slime-shaped crown or horn on each dragon's head can symbolize several concepts such as, a demonic creature whose breath is fire and the lightning of his gaze encircles and enchants everyone, the fusion of two Iranian and Chinese cultures and myths, the connection of the sacred couple of the earthly dragon with its heavenly counterpart, the constellation of the dragon, and other symbols.
Applying the advanced geometric rules that have been customary in the design of Iranian Muslim artists in the past, rethinking the intellectual philosophy that governs the thinking and work of the past and translating these values into the language of today's usres will distinguish the Iranian designer's work in the world of art and industry. Undoubtedly, by pondering the reason for the formation of the form and decorative motifs of the works in various fields of art and industry, the Iranian designer achieves valuable solutions for creating the product form, appropriate to the culture of the users.
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