تحلیل ساختار و مضمون طرح قالیچه محرابی محفوظ در موزه توپقاپی بر اساس آراء کومار اسوامی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
منبع:
نگره بهار 1402 شماره 65
حوزه های تخصصی:
شماره صفحات:
۱۸۱ - ۱۹۳
دریافت مقاله
تعداد دانلود :
۱۰۱
آرشیو
چکیده
قالیچه های محرابی از جمله دستبافته هایی است که در دوره صفویه به طور گسترده طراحی و تولید شده است. ساختار کلی طرح این قالیچه ها دارای دو بخش است. بخش بالایی با استفاده از مضامین مذهبی و بخش پایین طرح نیز با استفاده از آرایه های اسلیمی و ختایی و درختان و گلها تزیین شده است. از جمله این قالیچه ها، قالیچه ی موجود در موزه توپقاپی است که با توجه به اندازه و تزئینات آن به نظر می رسد جهت مراسم عبادی استفاده می شده است. پژوهش حاضر با در نظر گرفتن نظریه کوماراسوامی، که تزئین و آرایه های بکار رفته در هنرهای سنتی را صرفاً جهت زیبایی ندانسته بلکه دلالت گر می داند، با هدف تحلیل ساختار و مضمون طرح قالیچه محرابی محفوظ در موزه توپقاپی صورت گرفته است و در پی پاسخ به این سوالات است که: 1. ساختار قالیچه محرابی موجود در موزه توپقاپی بر چه اساس و پایه است؟ 2. این ساختار و تزئینات آن، چه تأثیری در مضمون قالیچه داشته اند؟ روش پژوهش توصیفی- تحلیلی و شیوه گردآوری اطلاعات، کتابخانه ای است و تفسیر و تحلیل ها بر اساس آراء کوماراسوامی صورت گرفته است. نتایج حاصل از پژوهش نشان می دهد که این قالیچه دارای ساختاری چندبخشی در طراحی است و ساختار قالیچه مذکور با توجه به مقیاس های انسانی بافته شده است و هر کدام از این بخش ها، تزئینات و نقش مایه ها نیز با معنای کلی اثر در ارتباط هستند. بنابراین پیکره مورد نظر همچون عالم صغیر بوده که بازنمودی از عالم کبیر است. قالیچه محفوظ در موزه توپقاپی را با توجه به نظرات کوماراسوامی می توان زیر مجموعه هنرهای سنتی قرار داد که همه اجزای آن در خدمت یک کل هستند و قالیچه چون معبدی مقدس یا کیهان است که صورت، کاربرد و معنا بر تعالی و رهایی کامل دلالت دارند. این تعالی در قالیچه مورد نظر دربرگیرنده اندیشه تشیع است که در بالاترین نقطه -که همان محراب است- رخ می دهد.Explaining the Structure and Content of the Niche Rug Design Kept in the Topkapı Palace Museum based on Coomaraswamy's Opinions
Niche Rugs are among the hand-woven items that were widely designed and produced in the Safavid era, and due to the type of use, design structure and content, they are closely related to each other. The general structure of the design of these rugs has two parts. The upper part is decorated with religious themes and the lower part of the design is decorated with Eslimi and Khatai motifs and trees and flowers. One of these rugs is the one in the Topkapi Museum. The present study, aims to analyze the structure and content of the Niche Rug design kept in the Topkapi Museum, and seeks to answer these questions: 1. what is the basis of the structure of the Niche rug in Topkapi Museum? 2. what effect did this structure and its decorations have on the theme of the rug? The research method is descriptive-analytical and the method of collecting information is library and documentary based. Data analysis has also been done qualitatively. The studied body is an embroidered rug measuring 114 × 163 cm with a niche design that has an asymmetrical knot. The carpet is kept in the Topkapi Museum and was woven in the 16th century in Kashan. In terms of the structure of the pattern, this rug is designed in 1/2 way and has a multi-part structure in the design according to the composition of the niche rugs of the Safavid era. The most important components of the design of this rug are: the border, the background and the niche, which are analyzed in the continuation of the design structure and content of each of the mentioned sections. In the present study, according to Coomaraswamy's view that the motifs are not decorative, the structure of the design and the themes hidden in it have been analyzed. Niche rugs are among the woven handicrafts that have a different structure from other Safavid rugs due to their type of use. Although some pieces of the Safavid era have also used inscriptions, the most important difference between the inscriptions of the niche rugs and the inscriptions of other rugs of this era is the connection between the themes of the inscriptions used in them and the subject of prayer which has a close relationship. These inscriptions are mainly located in the upper part of the niche. In the lower part and at the center of the rug, because they are placed under the feet of the worshipers, depicted motifs have hidden themes and it seems that there is a strong connection between the appearance and the meaning of these motifs. The present study seeks to reveal their hidden layers. Given that Coomaraswamy is one of the researchers who believes that in traditional arts there is a deep connection between the form and meaning of the work of art, we have tried to analyze and interpret the content of the carpet design by referring to his views, and therefore, it is necessary to first clarify the mentioned views on the motifs and the relationship between form and meaning in a work of art. He analyzes and interprets the theme of the mentioned carpet design. The results of the research show that the design and overall composition of the pattern of this rug is based on 1/2 method and is designed in several parts. In the first part, the general composition of the pattern is specified as 1/2. In the second part, verses, names of God and inscriptions have been added to the pattern. The addition of inscriptions has changed the pattern from ½ to an all-over design. Lotus presence in the center of the rug represents an Iranian design that has become an Iranian-Islamic motif with the presence of numerous borders, full of verses and inscriptions under the front of this motif. Because in it, the accompaniment of Iranian and Islamic text, and in some cases the substitution of Iranian text instead of Islamic one is observed. The borders that change the composition also refer to a general meaning that denotes the behavior and ascension of the worshiper; the behavior that has Iranian and Islamic characteristics. The artist consciously or unconsciously, by placing a lotus flower on top, shows the presence of the verbal texts in the rug, and the ascension and excellence by a woman. This is an idea that is deeply rooted in Shiism. Due to the fact that both form and content refer to the excellence of the seeker in the rug, according to Coomaraswamy's opinions, the rug can be considered as a traditional art, in which the design and motifs are not decorative, but complement the formation of effects.
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