بررسی مفهوم هویتی و آرایه های فرهنگی کوبه های درهای همدان
آرشیو
چکیده
کاوش و تدقیق در اجزای معماری ایرانی حاوی اطلاعات ارزشمندی از دانسته ها و فرهنگ مردمی است که در بستر اجتماعی، تجربه چگونه بودن طی سالیان را به همراه دارد. درِ ورودی بنا، از اولین عناصر معماری سنتی ایران است که بر مخاطب عرضه می گردد و چگونگی و چرایی خصوصیات درِ خانه های همدان به ویژه کوبه، موضوع این پژوهش قرار گرفته است. این تحقیق با این سؤال ها که مفاهیم هویتی کوبه در چیست، و آرایه و تزیینات آن چه پیامی از فرهنگ مردم را منعکس می نماید، در پارادایم ساخت گرایی و با روش توصیفی ژرفانگر انجام یافت. جمع آوری اطلاعات مبتنی بر اسناد و مطالعات میدانی به شیوه مشاهده کنترل شده بوده و تحلیل اطلاعات بر استدلال استقرائی استوار بوده است. یافته های تحقیق مبین آن است که کوبه های نصب شده بر درهای چوبی خانه ها که به دقت شکل می یافت و تزیین می شد ، نه تنها مطابق با نمادهای فرمی جنسیت مرد و زن دارای تزیین بوده، بلکه نوای کوبیدن دق الباب، متناسب با هر جنس دارای صدایی بم یا زیر بود و به صورت قرارداد اجتماعی، هر کوبه خبر از خصوصیاتی از فرد مراجعه کننده آن سوی در، به همراه داشت. به این شیوه، کوبه در، به کنش فرهنگی مرتبط با حضور فرد غریبه، سامان می داده است. صنعت گران اجراکننده این عناصر و موقعیت نصب کوبه های زنانه، مردانه و غریب کوب نیز از دیگر موضوعات مقاله بوده است. نتایج این تحقیق معلوم نمود که درودگران و صنعت گرانی از همدان در کنار چلنگران اصفهانی در خلق فرم و تزیینات کوبه ها، ایفای نقش نموده اند. در دهه های متأخر برای کوبه ها، خویش کاری حفظ حریم جنسیتی منتفی بوده و تنها بر نقش تزییناتی آن تأکید شده است.An Examination of the Identity Concept and Cultural Embellishments of Door Knockers in Hamedan
Introduction: In traditional Iranian architecture, numerous elements are responsible for both function and aesthetic refinement. One such example is the door, which serves as an interface between the interior and exterior, often conveying messages and cultural traits. Doors, as a part of the traditional architectural heritage of Iran, are full of cultural significance.Objectives: The entrance door is one of the first architectural elements of traditional Iranian houses that addresses the onlooker. The focus of this research is on the analysis and categorization of the door knockers in Hamedan, particularly in the historic areas of the city. The purpose of this study is to investigate the function of these knockers and to explore the hidden cultural meanings within their forms and decorations.Research Methodology: The theoretical framework of the research is based on typology. The study explores different aspects of phenomena from a typological perspective. The method involved using typology as a tool to understand the cultural significance of knockers. First, typological criteria were established, then knockers from the historic houses of Hamedan were documented through library research, historical studies, and fieldwork observations. Despite the limited number of knockers remaining, detailed documentation and controlled field observations were carried out. The analysis is primarily based on an inductive reasoning approach.Results: The knockers installed on the wooden doors of houses are a carefully shaped and decorated metal piece used to inform the homeowner of the presence of a stranger or familiar person behind the door. The knocker, also referred to as “Degh-albab,” was influenced by Islamic culture and the observance of modesty, based on maintaining sexual boundaries, and was made separately for men and women. This element was not only decorated according to the formal gender symbols of men and women, but the sound produced by striking the knocker also had a low or high tone corresponding to each gender. As a social convention, each knocker conveyed characteristics of the person standing behind the door. In this way, the door knocker organized cultural behavior concerning the presence of a stranger. In the traditional architecture of Hamedan, maintaining boundaries was considered a cultural necessity. In fact, based on the perception of traditional living, the door, which is regarded as an element defining the inner sanctity of the home, is adorned with another element. By relying on the sound of the knocker to pass through the door, the inner privacy of the home became more concealed, adding another layer to maintaining boundaries.Additionally, other topics of the article explore the craftsmen who created these elements and the location of the male, female, and “stranger’s” knockers. The results of this research showed that carpenters and craftsmen from Hamedan, alongside metalworkers from Esfahan, played a role in creating the form and decorations of the knockers. The size of the knockers, based on the shape of the human hand and related to hand size, did not very much. According to field studies, the knockers installed on the right side were generally shaped like a lion’s head, a clenched fist, or forms symbolizing power and were heavier and more solid compared to those on the left side, producing a deeper sound. However, the knockers on the left side were delicate with forms inspired by a gentle nature, such as angels or a delicate woman’s hand, and when struck, they produced a high-pitched sound, notifying the household of the presence of a woman or a familiar person behind the door. The position of the knockers was at eye level and close to the middle arm of the two wings of the door.In the city’s historical background, knockers were decorated and adorned in various forms. Ring-shaped knockers were made in different shapes, such as hearts, Toranj (a type of geometric pattern), horseshoes, and apples, and were attached to the door by a ring called “Shuleh.” Sometimes, where the Shuleh passed through, two floral arabesques, a dragon’s mouth, or two symmetrical birds were crafted to enhance its beauty. Men’s knockers were often much simpler, sometimes resembling a rectangular cuboid, decorated with engraved intersecting or parallel lines. In examining the decorations of the knockers studied, the Toranj pattern, pomegranate, and sun motifs were repeatedly used in the decoration of Shuleh. For the decoration of women’s knockers (referred to as “Alkeh”), diagonal and parallel lines were engraved on the ring, and some of the knockers were in the shape of pomegranates and Toranj, with some being placed as an inverted Toranj on the Shuleh. However, in all cases, the hollow circular shape was the common form of women’s knockers.With technological advancements, the type of doors has changed, and not only gender but also the identity of the person behind the door is now known to the homeowner. Functionally, there is no longer a need for the knocker to determine whether the person behind the door is a family member or not. However, despite this, many newly constructed houses still have knockers installed, reflecting the continued mental significance of this element. In recent decades, the gender-preserving function of knockers has become irrelevant, with emphasis only on their decorative role. During the Pahlavi era, in some cases, knockers installed on doors were reduced to the simplest form, solely for informing the household of someone’s presence behind the door, but mostly, the doors and knockers were made in pairs.
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