بررسی نقوش گیاهی در تزئینات گچ بری طاق نمای گنبد خانه مسجد جامع هفتشویه اصفهان (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
مسجد جامع هفتشویه در ورودی روستای هفتشویه از منطقه قهجاورستان در شمال شرقی شهر اصفهان واقع شده است. این مسجد عصر سلجوقی به دلیل آسیب های بسیار در سده هشتم هجری قمری موردبازسازی کلی قرار گرفت که در این میان بیشتر به ظاهر بنا توجه شد تا به استحکام آن، درنتیجه اکنون با یک بنای نیمه مخروبه روبه رو هستیم. از تزئینات گچ بری بر جامانده در این بنا می توان به محراب و بخشی از طاق نمای جبهه غربی گنبد خانه اشاره کرد. هدف این پژوهش شناخت ویژگی های بصری نقوش گیاهی آرایه های گچی موجود در طاق نمای ضلع غربی گنبد خانه مسجد جامع هفتشویه است. در راستای دستیابی به هدف پژوهش، پرسش اصلی این است که 1. ویژگی های تزئینات نقوش گیاهی طاق نمای گنبد خانه این مسجد چیست؟ 2. پرکاربردترین نقوش به کاررفته کدام است؟ این پژوهش توصیفی-تحلیلی به شیوه ی کتابخانه ای در بخش نظری و به شیوه میدانی در بخش عملی انجام گرفته و روش تجزیه وتحلیل اطلاعات کیفی است. نتایج مطالعات نشان داد نقوش اسلیمی دارای انواع تک قوس، دو قوس و سه قوس بوده که با سه نوع تزیین شامل طرح هندسی، شیارهای منحنی هلال مانند و طرح بادبزنی در دو ساختار سر اسلیمی به شکل بادامچه و بدون شکل بادامچه کارشده است. نقشمایه گل شش پر نیز در انتهای قوس های اسلیمی و یا به صورت مجزا همچون زوائد روی بندها قابل مشاهده می باشد و نوار تزئینی با طرح کنگره دار شانه عسلی به عنوان تزیین در نقوش استفاده شده است. روش مرسوم قرینه سازی در طراحی موردتوجه نبوده و هنرمند بیشتر از روش بی قرینگی بهره برده و تلاش دارد تا تعادل و توازن طرح را با اعمال ارزش های بصری در نقشمایه ها حفظ کند. نقشمایه ها در کتیبه به بهترین شکل با یکدیگر در تعامل هستند و به موقعیت ها، کمبودها و کنش های یکدیگر پاسخ می دهند.Study of Plant Motifs in Plaster Based Decorations in Dome Arch of the Isfahan Haftshuyeh Jame Mosque
The Isfahan Haftshuyeh Jame Mosque is located at the entrance of the Haftshuyeh village of Qahjavarestan county in the northeast of Isfahan. This Seljuk period mosque was rebuilt in the 8th century due to excessive damage, in which more attention was paid to the appearance of the building than its strength, so now we are also facing a half ruined building. The plaster based decorations left in this building are the altar and some parts of the arch of the western side of the front, which are all related to the dome of the mosque. Plaster based decorations on the western side of the dome are very rich and valuable in terms of visual beauties and by examining and identifying them, other decorations of the parts of this dome which had been destroyed now can be revealed. By studying the researches, it was found that the arch plaster based decorations of this part of the dome have been ignored by researchers. You have to pay attention to the fact that except for the Haftshuyeh altar in this eroding building, only the plaster based decorations on the western side of the arch of the dome remain intact. The examination and analysis of the motifs of this part of the arch, in addition to preserving this cultural treasure, can provide information to specify a comprehensive visual structure of plant motifs used in this building. Thus, the purpose of this study is to identify the visual features of the plant motifs of the plaster based decorations in the arch of the western side of the dome in the Haftshuyeh Jame Mosque. To the achieve this goal, the main question is: "By studying the plaster based decorations in this part of the building, what are the visual features of the dome arch of this mosque and what are the most usable motifs?" In this study which is based on descriptive-analytical method, data was collected according to field study through observation and recording of images and library method in the theoretical part of the research. After observing and photographing the plaster based decorations, the line drawing of the plant motifs in plaster based decorations was created by Rhinoceros 3d software, and in the next step, the motifs were analyzed and categorized based on the type of motifs and visual features. The plaster based decorations were photographed and were then turned into linear designs. Finally, the patterns were accordingly analyzed and classified. Also, the data analysis method in this research is qualitative. The results of the study indicated that, in the motifs, arabesque types of one arch, two arches and three arches with three types of geometric decoration design, curved grooves and fan design in two arabesque structures with almond-like form or no almond-like form have been worked as the main design in the plant motifs of plaster based decorations. The natural flower motif can also be seen at the arabesque end or in a separate bud, on the stem, and the decorative tape with a crenate design has been used as a decoration in plant motifs. The conventional method of symmetrizing, which until the current period has been considered as the main infrastructure of the traditional designs, has not been much considered in the design of the motifs of this period and the artist has paid more attention to the method of asymmetry and has tried to maintain the balance of the design by applying visual values in the motifs. To create this balance, the place and position of the motifs in the inscriptions have been carefully selected. This asymmetry shows the sense of movement and dynamism of the motifs. According to the space they have in the inscription to fill the area, motifs can be executed in smaller places and/ or bigger places. The jumble of the designs does not bother the eyes and the motifs interact with each other in the best way possible and respond to each other's situations, deficiencies and actions.
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