الاهیات سیاسی تکیه دولت (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
ناصرالدین شاه بعد از جنبشِ تنباکو به قدرتِ الاهیاتِ سیاسی در دستِ علما و مراجع دینی واقف شد. او که با سفر به فرنگ شیفته معماری مدرن هم شده بود تصمیم به ساختِ بزرگترین تالارِ نمایش نامه سوزناکِ ایرانی به نامِ " تکیه دولت" گرفت. این بنا، از مکانی صرف فراتر می رفت و از ساخت تا ویرانی اش در دوره پهلوی، حاملِ نشانه ها و دلالت های روشنی از الاهیاتِ سیاسیِ بود. چنین دلالت هایی کمتر در پژوهش های مربوط به تکیه دولت مورد توجه قرار گرفته است. با توجه به فلسفه تاریخ و روش شناسی بنیامین در نهایت می توان گفت " تکیه دولت" هرچند در ابتدا قرار بود نمادی از شکوه و قدرتِ پادشاه قاجار باشد اما سرانجام تمثیلی از ویرانی و تباهی آن سلسله و در همان حال شکل گیری انقلابِ مشروطه ایران شد. در دوره پسامشروطه نیز این بنا به شکلِ تمثیلی بیانگرِ ویرانی آرمان های انقلابِ مشروطه و ظهورِ فاتحانی تازه بود. این مقاله با بهره از روش شناسی والتر بنیامین در خوانشِ تمثیلی از تاریخ و مدرنیته، " تکیه دولت" را چون تمثیلی سیاسی -الاهیاتی مهم در قبل و بعدِ انقلاب مشروطه مورد برسی قرارمی دهد و سرآخر نتیجه می گیرد که با توجه به تصاویرِ رهایی بخشِ " تکیه دولت" در انقلابِ مشروطه، ویرانیِ آن بنای یادبود در سال های بعد را می توان تمثیلی از ویرانی تجربه های رستگاری بخشِ درانقلابِ مشروطه در نظر گرفت، تلاش برای بازیابی چنان تصاویری سال ها بعد مهم ترین چالش های تاریخ معاصر ایران را رقم زد.Political Theology of the" Tekyeh Dowlat "
IntroductionThe Takyeh Dowlat, a significant architectural structure from the Naseri period, played a crucial role in the development of political theology during both the reign of Nasir al-Din Shah and the Constitutional Revolution in Iran. Allegorically, the building can be seen as representing the end of the Constitutional Revolution and the emergence of a new government. So far, most research on the Takyeh Dowlat has focused on descriptive accounts of its construction, emphasizing its spatial and architectural features, as well as its social and ritual functions. In an attempt to move beyond the mere architectural analysis and social descriptions, the present study aimed to apply Walter Benjamin’s historical theory and methodology to interpret the building as a historical allegory of political theology spanning the pre-Constitutional, Constitutional, and post-Constitutional periods. The study sought to examine the Takyeh Dowlat as an allegory for the rise and fall of political theology, analyzing the building’s allegorical dimension and contrasting it with its symbolic grandeur. The allegorical interpretation was discussed concerning the formation of the Constitutional Revolution in Iran. The results highlighted the tension between the allegorical and the symbolic, with the Takyeh Dowlat symbolizing the emergence of new conquerors while simultaneously serving as an allegory for destruction and decay. This allegorical reading of political theology is historically significant, not only during the Constitutional era but also in subsequent periods, as it continued to influence the history and politics of Iran.Materials and MethodsThis research adopted Walter Benjamin’s approach of allegorical reading of history. Benjamin contrasts the allegorical reading with the symbolic interpretation of history. Symbolic history centers on conquerors, imbuing them with glory, mystery, and a sense of transhistorical significance. In the symbolic view, history finds a linear and unifying process that connects histories of triumphs. In contrast, allegory engages with themes of destruction and decay, focusing on the neglected and thus aligning itself with the defeated. The allegorical reading views history through fragments, ruptures, and ruins, inevitably turning our attention to the defeated and the deprived. Concerning the present study, Naser al-Din Shah’s political will to build the Takyeh Dowlat and establish its associated ceremonies and rituals can be considered as a form of symbolizing theology for political exploitation. If so, in the later periods, the building would take on an allegorical dimension due to the potential possibility of liberation. For this purpose, Benjamin’s method proved useful by addressing both the possibility of salvation in theology and the destruction and decay of worldly happiness and salvation.Results and DiscussionNasir al-Din Shah developed an interest in theaters during his travels to Western countries. On returning to Iran, he sought to replicate them. Facing opposition from religious scholars, he decided to construct a building dedicated to religious performances. Through the rituals held in this space, he recognized the influence of theology on the masses. After Nasir al-Din Shah’s death, the building became a site for public protests during the Constitutional Revolution. Many mass protests mirrored the rituals previously held there, infusing the revolution with a theological color. In this way, the building played an important role in transforming religious rituals into a social movement. Following the victory of the Constitutional Revolution, however, the Takyeh Dowlat was largely forgotten. With the rise of Reza Khan, it regained attention. The Constituent Assembly convened there, and Reza Khan took his oath as king within its walls. Afterward, the Takyeh Dowlat, having sunk into obscurity once more, was destroyed during the Second Pahlavi.ConclusionThe Takyeh Dowlat can be viewed as an allegory of political theology. During the Naseri period, it was intended to symbolize the ruling religious policy, but during the Constitutional Revolution, it became an allegory of revolutionary liberation. In the post-constitutional era, the Takyeh Dowlat represented the decay and destruction of the ideals of the Constitutional Revolution, serving as the place where new rulers and conquerors established their dynasties.
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