بررسی مطابقت و میزان ساختار مواد و فرمول های شیمیایی با نقوش هندسی اسلامی (با تأکید بر هندسه نقوش اسلامی در معماری ایران) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نقوش هندسی، یکی از بارزترین وجوه هنر اسلامی است که شناخت عوامل مؤثر بر شکل گیری آن ها موردتوجه بسیاری از اندیشمندان و صاحب نظران بوده است. هر یک از آن ها روش ها و رویکردهای مختلفی در بررسی ماهیت وجودی نقوش هندسی برگزیده اند و از دیدگاه خود علتی برای وجود این نقوش هندسی قائل شده اند. این تحقیق با دیدگاهی کاملاً متفاوت، پلی مابین هنر اسلامی و علم را احداث کرده و با دیدگاهی علمی به چیستی وجود هندسه نقوش اسلامی پرداخته است. هدف مقاله پیش رو دستیابی به شناختی کامل تر از نقوش هندسی در هنر اسلامی با رویکردی علمی است. لذا سؤال های اصلی تحقیق این است که 1. آیا ساختار عناصر، مواد و فرمول های شیمیایی با نقوش هندسی مطابقت دارد؟ 2. میزان مطابقت نقوش هندسی با ساختار مواد و فرمول های شیمیایی چه مقدار است؟ روش تحقیق به شیوه توصیفی-تطبیقی و استنتاج آن بر مبنای قیاس بناشده، شیوه تجزیه وتحلیل اطلاعات کیفی و جمع آوری داده ها به صورت کتابخانه ای است. نتایج تحقیق نشان داد نقوش هندسی، با ساختار فرمول های شیمیایی ارتباط مستقیم دارند. شکل این نقوش هندسی ازلحاظ مادی ، با پیوندهایی شیمیایی موجود و همچنین با ساختار فیزیکی مولکول هایی که توسط شیمی دانان تحریک شده اند، به میزان صد در صد قابلیت تطبیق دارد.Investigating the Conformity of Structure of Chemical Materials and Formulas with Islamic Geometric Patterns (with Emphasis on Islamic Geometric Patterns in Iranian Architecture)
Geometric patterns are one of the most prominent aspects of Islamic Art. The geometry of Islamic patterns with its secrets and mysteries has always been discussed and thought by many philosophers and experts who have expressed their views on how to create the geometry of patterns and discover the mysteries hidden in these works. Thinkers and experts in art have chosen different methods and approaches in examining the existence of geometric patterns and from their point of view have given a reason for the existence of these geometric patterns, for instance scholars such as Oleg Grabar, Richard Ettinghausen and Gulru Necipoglu consider Islamic geometric patterns a decoration. What have been mentioned so far about geometric patterns are the studies that the authors have looked at with a historical and theoretical approach. But this research, with a completely different perspective, has constructed a bridge between Islamic art and science, and talks about the existence of the geometry of Islamic patterns with a scientific approach. One of the important concerns of researchers and artists is to decipher the works of art to understand the artwork and the reason it exists. This research, by presenting a different idea from what has been expressed so far in the history of Islamic art, tries to reveal a higher object and a view beyond the common definitions of the Islamic geometric patterns. This research seeks to discover a relationship between the geometry of Islamic patterns with other sciences especially chemistry and believes that a bridge can be established between these two to find out what the Islamic geometric patterns are. In order to achieve this theory, we make adaption between Islamic geometric patterns and structure of chemical formulas.The purpose of this article is to achieve a more complete knowledge of geometric patterns in Islamic art with a scientific approach; an approach that has not been addressed so far and requires a lot of research in this area. Therefore, the main questions of the research are: 1- Does the structure of chemical elements, materials and formulas correspond to geometric patterns? 2- What is the degree of conformity of geometric patterns with the structure of materials and chemical formulas?The research method is descriptive-comparative and its inference is based on analogy. The method of analyzing qualitative information and collecting data is from library data. Since the author has spent part of his artistic activities learning, drawing and practicing, teaching and researching in the field of geometry of Islamic patterns, by watching the structure of chemical formulas understood that there is a similarity between these two field. He immediately started researching and looking through the encyclopedias and reference books of chemistry, he searched for the forms of chemical formulas that are formed like geometric designs and patterns as documented in the archive of reference books. There are some important reference books about the geometry of Islamic patterns such as Gereh-Chini at Islamic architecture and handicrafs, Hossein Zomrashidi (1986) and the five-volume collections of Iranian Tiling, Mahmoud MaheroNaghsh (1982). Then, the executed examples had been classified into tables to lead to a better adaption; the first column of which shows the costruction of chemical formulas. The secend column is for islamic geometric patterns which is followed by a picture of geometric pattern in the architectural space of Iranian architecture.The necessity and importance of this research is based on the fact that since so far, all theoretical discussions about the geometry of Islamic patterns have been raised by Western and non-Muslim scholars and philosophers, the truth about the importance and decipherment of secrets in geometric Islamic patterns are not well pursued. Therefore, it is necessary for a Muslim artist to present a different theory in this regard.In response to the research questions, we conclude that the geometry of Islamic patterns is directly related to chemistry. 65 comparative samples in the form of 6 tables were presented in this research. First, those chemical bonds that were structurally simple and unmanipulated were adapted to the geometry of Islamic patterns. In the following tables, more complex and diverse chemical bonds and those images that showed chemical bonds under a microscope were mentioned and adapted to geometric designs and patterns. In the last table, the evolved samples of chemical bonds were presented under the title of dendrimers, which corresponded to the types of Shamsa under the arches and domes. In all samples, one hundred percent correspondence between the geometry of Islamic patterns and the chemical structure of the materials was evident. This adaptation can be seen either in the structure of unmanipulated or advanced chemical bonds with Islamic geometric patterns and designs. The degree of conformity in the samples presented in this research was one hundred percent and the theory of matching between the geometry of Islamic patterns and the structure of chemical bonds was complete and established.
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