مطالعه تطبیقی الگوی ساختاری مشابه در الواح چوبی سده های چهارم و پنجم هجری (مورد پژوهی: الواح چوبی موجود در موزه تخت جمشید شیراز، مجموعه رابنو، موزه عربی قاهره با تاریخ 363 ه.ق و موزه ملی ایران با تاریخ 520 ه.ق) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
امروزه چند لوح چوبی متعلق به مزار امام علی(ع) که به دستور عضد الدوله دیلمی ساخته شد(363 ه.ق) در موزه های جهان نگهداری می شود؛ اما یک لوح چوبی دیگر مربوط به همین دوره که در موزه تخت جمشید شیراز وجود دارد، دارای الگوی مشترک در ساختار و کتیبه هایی با مضمون مشابه با این آثار می باشد و حاوی محتوای شیعی توأم با حمایت او هستند. علاوه بر این آثار، یک لوح چوبی با تاریخ ساخت 520 ه.ق در موزه ملی ایران وجود دارد که دارای اشتراکاتی با آثار مورداشاره است. هدف از انجام این پژوهش بررسی اصول الگوی ساختاری و کتیبه های این آثار و تطبیق آن ها با یکدیگر است. سؤالات هم عبارت اند از:1. این آثار چوبی دارای چه ساختاری در طراحی و کتیبه ها هستند؟ 2. اصول ساختاری طراحی و کتیبه های این آثار تا چه اندازه به هم شباهت دارند؟ روش تحقیق توصیفی-تحلیلی با رویکرد تطبیقی می باشد و شیوه جمع آوری اطلاعات کتابخانه ای، اسنادی و میدانی با استفاده از ابزار فیش و عکاسی است. روش تجزیه وتحلیل اطلاعات کیفی است. نتایج نشان داد آثار چوبی نام برده ازنظر ساختار و ترکیب بندی از الگوی مشترک پیروی می کنند و ترکیب بندی آن ها به شکل محرابی است. در تمامی آثار موردبررسی از نقوش گیاهی برگرفته از دوران ساسانی استفاده شده است. همچنین کتیبه هایی به خط کوفی ساده با مضامین و طراحی مشابه وجود دارد. سبک و متن کتیبه های الواح چوبی موردبررسی را می توان با تاریخ مشابه در لوح چوبی موجود در موزه ملی ایران با تاریخ متأخرتر مشاهده کرد که نشان دهنده ادامه و حفظ سبک حکاکی روی چوب توسط هنرمندان است. بیشترین وجه اشتراک در لوح چوبی موجود در موزه تخت جمشید شیراز و لوح چوبی موجود در مجموعه رابنو دیده می شود و تنها وجه افتراق آن ها استفاده از کتیبه های بیشتر در لوح چوبی مجموعه رابنو است. با توجه به متن مشترک کتیبه الواح چوبی متعلق به مزار امام علی(ع) با لوح چوبی موجود در موزه تخت جمشید شیراز، می توان نتیجه گرفت که لوح چوبی موزه تخت جمشید هم جزئی از همان مجموعه ارزشمند است.A Comparative Study of the Similar Structural Pattern in the Wooden Panels of the Fourth and the Fifth Centuries AH (Case Study: Wooden Panels in the Persepolis Museum of Shiraz, Rabenou Collection, Cairo Arab Museum with the Date of 363 AH and the National Museum of Iran with the Date of 520 AH)
In the course of history, the land of Iran has witnessed the coming to power of various governments. One of the most important Shia governments in the 4th century AH is the Deylamian dynasty. The most famous Deylamian dynasty was the Al-Buyeh or the Buyid dynasty, which ruled from 322 to 454 AH in various branches, and sometimes close to most parts of Iran and Iraq. One of the most important figures who came to the throne in the Buyid regime was Azd al-Dawla. Today, some wooden tablets belonging to the tomb of Imam Ali (A.S.) which was built by the order of Azd al-Dawla Deylami (363 AH) are kept in various museums in the world, including the Rabenou Collection and the Cairo Arab Museum. But, another wooden tablet from the same period, which is in the Persepolis Museum of Shiraz, has a common pattern in structure and inscriptions with the same theme as these works, and they contain Shia content along with its support. In addition to these works, there is a wooden tablet with the construction date of 520 AH in the National Museum of Iran, which has something in common with the works in question. The purpose of this research is to examine the principles of the structural pattern and inscriptions of these works and to compare them with each other. The questions are: 1. What structure do these wooden works have in terms of design and inscriptions? 2.To what extent are the structural design principles and inscriptions of these works similar? The descriptive-analytical research method is used with a comparative approach. The method of collecting library information is documentary and field research; using fiche and photography tools and qualitative data analysis method. According to the investigations, it was found that these works generally have the same design in terms of structure and composition and they all follow a common pattern. The composition of the mold in them is in the form of an altar. Decorative motifs are limited around the main frame. These plant motifs taken from Sassanid wings and leaves, which are the characteristics of the Buyid period, are designed in a similar way in all the studied works. In the last sample of the wooden tablet examined in this research, although there is a gap in time, the text of the inscription and the style of the lines used are the same with other works, and this can indicate the continuation and preservation of the tradition and style of engraving on wood by artists. Most of the wooden panels are dedicated to Kufic inscriptions, which is one of the distinctive features of Buyid wooden works. The inscriptions are written in simple Kufic script with the exact same word design as in the examined works. Baseline in the inscriptions of all examined samples has the same structure. The inscriptions have four lines of the background and the connections of the letters are designed on these four lines. The letter "h" has the highest seat height in the inscriptions, and by bifurcating the tip of this letter and turning it into a vegetable shape, more emphasis has been placed on this letter in the inscriptions, and its decorative value is more than other letters. Another thing in common is the content of the inscriptions, which can be seen in the last table of this topic in a comparative way. As it is clear from the table, the inscriptions of Surah Al-Ikhlas, the phrase "وحده لا شریک له" are present in all the examined works. The inscription of a part of Jafar Tayyar's prayer has been repeated in the examined works, except for the wooden tablet belonging to the year 520 AH in the National Museum of Iran. Another noteworthy point is the alignment of inscriptions with a common theme in the examined works. So that the beginning and end of each line is common in these works and it seems that the designers have used the same pattern to create these works. The most similarities can be seen in the wooden tablet in the Takht-Jamshid Museum of Shiraz and the wooden tablet in the Rabenou collection, and the only difference between them is the use of more inscriptions in the wooden tablet of the Rabenou collection. In this work, there is an inscription mentioning the Ahl al-Bayt and a prayer for morals, which is not seen in other examined wooden works. Considering the commonality of the text of the inscription on the wooden tablets belonging to the tomb of Imam Ali, including the order of Azd al-Dawla Deylami to build a noble tomb in 363 AH, with the wooden tablet in the Persepolis Museum of Shiraz, it can be concluded that the wooden tablet in Takht-Jamshid Museum is part of the same valuable collection.
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