نقش بابر در رونق یافتن هنر و معماری (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هندوستان سرزمینی است که بیش از سیصد سال (933-1274ه.ق) تحت حکومت پادشاهان مسلمان و پارسی گوی مغول بوده است. بابر سرسلسله مغولان هند با برنامه ریزی و بهره گیری از جنبه های فرهنگی و هنری در پیشبرد اهداف و حفظ پایه های حکومت خود و جانشینانش، از آن استفاده کرد. حمایت بابر از هنرمندان، از دلایل مهاجرت هنرمندان بوده که در رشد هنر و معماری در این دوره تأثیرگذار بوده است. هدف مقاله حاضر، تبیین نقش بابر در رونق هنر و معماری و دستاوردهای او در دوره حکومتش به عنوان بنیان گذار حکومت مغولان هند است. نتایج پژوهش حاکی از آن است که بابر به عنوان بنیان گذار سلسله مغولان هند، با هنرهای نقاشی، خوشنویسی و معماری آشنایی داشته است. براین اساس سؤال اصلی پژوهش حاضر این است که بابر چه نقشی در رونق و شکوفایی فرهنگی در عرصه هنر و معماری داشته است. پژوهش پیشِ رو به شیوه نظری و تاریخی و با استفاده از منابع کتابخانه ای تدوین شده است و می کوشد تا به بررسی نقش و عملکرد بابر در رشد هنر و معماری و دستاوردهای هنری او بپردازد.Babur's role in the flourishing of art and architecture
India is a land that has been ruled by Muslim and Persian-speaking Mughal kings for more than three hundred years (1526-1857). Babur, the Mughal dynasty of India, used it by planning and utilizing cultural and artistic aspects to advance the goals and maintain the foundations of his government and his successors. Babar's support for artists was one of the reasons for the migration of artists, which influenced the growth of art and architecture in this period. The purpose of this article is Babur's role in the prosperity of art and architecture and his achievements during his reign as the founder of the Mughal Empire in India. The research results indicate that Babur, as the founder of the Indian Mughal dynasty, was familiar with the arts of painting, calligraphy and architecture. Accordingly, the main question of the present study is: What role has Babur played in the prosperity and cultural flourishing in the field of art and architecture? The present research has been compiled in a theoretical and historical way and using library resources and tries to study the role and function of Babur in the development of art and architecture and his artistic achievements Introduction As India is a vast land with a long history of civilization. This land of India has been one of the important points of Persian-Islamic culture and art since the sixteenth century. The period of the Mughals of India is one of the periods of cultural and artistic development of the land of India. The main reason for this progress was that the Mughal emperors of India, especially the kings of the first period of this dynasty, in addition to being lovers of Persian poetry and literature, also encouraged arts such as painting, calligraphy and architecture. In addition to Turkish, the mother tongue of the Mughal dynasty of India, they were fluent in Persian and Uzbek. Babur, the head of the Mughal dynasty of India, was the first Mughal ruler of India to uphold Islamic culture and be influenced by Persian art. Understanding his interest in culture and art depends on knowing the Babur family and his living environment. 1.1. Research methodology In this research, theoretical and historical research methods have been used. In order to collect information, first-hand written sources such as Baburnama by Zahir-u-ddin Mohammad Babur and second-hand sources such as foreign sources and authoritative research articles in this field have been used. In addition, survived drawings from the Babur period have been used. Discussion Before entering India, Babur was familiar with the Herat School of Art, which had grown greatly during the reigns of Baysunghar and Hussein Bayqara. Babar saw Behzad's works during his trip to Herat in 1506 and mentioned Behzad in his Tuzuk. Behzad introduced the Herat school of painting in Agra, and Babur, although not himself an illustrator and painter, had an artistic taste and commented on Behzad's illustrations. In fact, Behzad's attention to the real world around him distinguishes him from the painters before him (Babur, 2009: 103 and 120). Thus, at the beginning of Babur's reign, in painting, all components of the painting, including humans, animals, plants, rocks, and mountains, showed their natural features, as in the Herat school, and human images were more clearly expressed. The presence of details and elegance are perfectly in harmony with the human figures and the vivacity and movement that are in the images, and the depiction of man himself shows Babur's lack of religious prejudice. From the beginning of the Mughal dynasty of India, magnificent buildings were built in India, including palaces, gardens, mosques, schools, temples, castles, tombs, stairs and gates. View of ancient buildings and Hindu temples and sculptural style and their symmetry and iconography with the style and method of architecture in Herat, Isfahan, Shiraz, Bukhara and Samarkand and from its combination an independent style in the architecture of the Mughals of India was created which called Indian and Islamic architecture came (Hekmat, 2017: 117). The style of indigenous traditions of Indian and Islamic architecture was combined with shapes and techniques inspired by Iran and Central Asia. The volumetric and three-dimensional volume of the buildings was one of the architectural features of this period (Blair and Bloom, 2009: 696). According to what mentioned above, it can be said that the land of India has a beautiful combination of Central Asian, Iranian and Indian architectural art, which in oval arches, onion-shaped gates and domes and numerous columns in octagonal buildings and plans, The use of the minaret in the four corners of the building and the use of arabesque designs in the construction of the tomb during the Mughal period of India is clearly seen and in fact this is the style of Indian Mughal architecture. In the architecture of this period, stone, especially red sandstone and white marble replaced the bricks and tiles of the previous period. One of the most famous monuments of the Mughal period in India is the huge tombs on the platforms and among the vast gardens. Conclusion The main issue of the present article is to examine the role of Babur, the founder of the Muslim Mughal dynasty of India, in the cultural and artistic development of Indian society. This is a fact that the beliefs and tastes of a ruler can cause fertility and cultural and artistic prosperity of a society and it is effective in the future generations, and in addition to this fact reviewing sources, especially Babur's will to Homayoun, Babur's meeting with Gurh kattri And Babur's friendly relationship with the Safavid Shiite government all show his tolerance in the manner of governing. Babur, along with having the necessary qualities for government, transformed the Mughal nomadic culture into urbanization. Babur's tolerance in dealing with a predominantly Hindu community made it possible for everyone to develop science, art, and architecture without neglecting their religious differences. Many Iranian artists came to India and created new ideas and immortal works in Indian culture and scientific environment there, and that is why we are witnessing the establishment of art schools during the Babur dynasty. Using Iranian art and architecture, Babar built gardens in India imitating the Iranian Chaharbagh and established schools and libraries. As a Muslim king, he refrained from destroying Hindu temples while canstructing buildings, gardens, and mosques, and sought to establish peaceful relations with the people who were in the majority in the society of that time. Babur combined the architectural culture of Iran and Central Asia with India and enriched it. The trade and movement of caravans of merchants during the Babur period also mixed Indian culture with Iran and Central Asia and led to cultural exchange. Therefore, according to what has been said, Babur has been successful in the cultural and artistic flourishing of the society of his time, and the art of architecture (especially gardening) has received more attention than the other arts in his time, and this attention has continued after him. References Holy Quran. Alami, Abul-fazl ibn Mubarak. (1993). 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