خیمه های سلطنتی ایران و عثمانی، تاثیر -تثبیت و تداوم هنر صفوی تا قاجار
آرشیو
چکیده
بیان مسئله: بنا به شواهد تاریخی، الگو برداری هنر عثمانی از ایران سابقه طولانی دارد و از مصادیق آن خیمه های سلطنتی هستند که بلحاظ شکل- تزئین و ساختار؛ نمادی از شکوه و قدرت سلاطین ایران و عثمانی محسوب می شوند. تاکنون مطالعات بسیاری در خصوص تاثیر هنر صفوی بر عثمانی انجام شده است که این مقاله سعی دارد با استفاده از خیمه های سلطنتی عثمانی ادامه این تاثیر پذیری را از هنر صفوی تا قاجار بررسی نماید.هدف: شناخت عناصر هنری خیمه سلطنتی عثمانی است که نشانگرتاثیر، تثبیت وتداوم هنر ایران (صفوی - قاجار) بر هنرهای عثمانی می باشد.سئوالات: تشابه وتمایز خیمه های سلطنتی عثمانی و صفوی - قاجار چیست؟ کدام ویژگی خیمه های عثمانی متاثر از هنر صفوی و قاجار است؟نتیجه و روش تحقیق: روش تحقیق توصیفی تحلیلی، گردآوری داده ها از راه کتابخانه ای- سایتها- موزه ها و جامعه آماری آثار کاخ موزه گلستان تهران- کاخ توپکاپی و موزه نظامی استانبول- قطعات نگارگری و برخی خیمه های موزه های خارجی است. نتیجه تحقیق نشان می دهد نقوش مشترکی درخیمه های عثمانی بکاررفته و رایج ترین آن متاثر از سبک صفوی است که تا قاجار ادامه یافت. خیمه های عثمانی بلحاظ ساختار، تزئین برمبنای سبکهای سده 10 تا13 ه.ق ایران تهیه شده اند و در شیوه های تزئینی و اجرا مشابه صفوی بوده ؛ اما به دلیل نبود ظرافت و نوآوری در نقش و تزئین متمایز از دوره قاجار هستند.The royal tents of Iran and Ottoman, the impact-fixation and continuity of Safavid to Qajar art
Statement of the problem: According to historical evidence, taking Ottoman art as a model from Iran has a long history, and one of the examples is the royal tents, which in terms of shape, decoration and structure; They are considered a symbol of the glory and power of Iranian and Ottoman sultans. So far, many studies have been done regarding the influence of Safavid art on Ottomans, and this article tries to investigate the continuation of this influence from Safavid art to Qajar by using Ottoman royal tents.Purpose: To know the artistic elements of the Ottoman royal tent, which shows the influence, consolidation and continuity of Iranian art (Safawi-Qajar) on Ottoman arts.Questions: What are the similarities and differences between Ottoman and Safavid-Qajar royal tents? Which features of Ottoman tents are influenced by Safavid and Qajar art?Research result and research method: descriptive analytical research method, data collection through library-sites-museums and statistical community of the works of Golestan Palace Museum of Tehran, Topkapi Palace and Istanbul Military Museum-painting pieces and some tents of foreign museums. The result of the research shows common motifs used in Ottoman tents, and the most common one is influenced by the Safavid style, which continued until Qajar. In terms of structure and decoration, Ottoman tents were prepared based on the styles of the 10th to 13th centuries of AH Iran and were similar to Safavid in terms of decoration and execution. But due to the lack of elegance and innovation in the role and decoration, they are different from the Qajar period.Statement of the problem: According to historical evidence, taking Ottoman art as a model from Iran has a long history, and one of the examples is the royal tents, which in terms of shape, decoration and structure; They are considered a symbol of the glory and power of Iranian and Ottoman sultans. So far, many studies have been done regarding the influence of Safavid art on Ottomans, and this article tries to investigate the continuation of this influence from Safavid art to Qajar by using Ottoman royal tents.Purpose: To know the artistic elements of the Ottoman royal tent, which shows the influence, consolidation and continuity of Iranian art (Safawi-Qajar) on Ottoman arts.Questions: What are the similarities and differences between Ottoman and Safavid-Qajar royal tents? Which features of Ottoman tents are influenced by Safavid and Qajar art?Research result and research method: descriptive analytical research method, data collection through library-sites-museums and statistical community of the works of Golestan Palace Museum of Tehran, Topkapi Palace and Istanbul Military Museum-painting pieces and some tents of foreign museums. The result of the research shows common motifs used in Ottoman tents, and the most common one is influenced by the Safavid style, which continued until Qajar. In terms of structure and decoration, Ottoman tents were prepared based on the styles of the 10th to 13th centuries of AH Iran and were similar to Safavid in terms of decoration and execution. But due to the lack of elegance and innovation in the role and decoration, they are different from the Qajar period.Statement of the problem: According to historical evidence, taking Ottoman art as a model from Iran has a long history, and one of the examples is the royal tents, which in terms of shape, decoration and structure; They are considered a symbol of the glory and power of Iranian and Ottoman sultans. So far, many studies have been done regarding the influence of Safavid art on Ottomans, and this article tries to investigate the continuation of this influence from Safavid art to Qajar by using Ottoman royal tents.Purpose: To know the artistic elements of the Ottoman royal tent, which shows the influence, consolidation and continuity of Iranian art (Safawi-Qajar) on Ottoman arts.Questions: What are the similarities and differences between Ottoman and Safavid-Qajar royal tents? Which features of Ottoman tents are influenced by Safavid and Qajar art?Research result and research method: descriptive analytical research method, data collection through library-sites-museums and statistical community of the works of Golestan Palace Museum of Tehran, Topkapi Palace and Istanbul Military Museum-painting pieces and some tents of foreign museums. The result of the research shows common motifs used in Ottoman tents, and the most common one is influenced by the Safavid style, which continued until Qajar. In terms of structure and decoration, Ottoman tents were prepared based on the styles of the 10th to 13th centuries of AH Iran and were similar to Safavid in terms of decoration and execution. But due to the lack of elegance and innovation in the role and decoration, they are different from the Qajar period.
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