بازشناخت ساختار فرش گلدانی کرمان قرن 17 بر اساس آرا بورکهارت (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هنر سنتی ایرانی دارای ماهیتی عرفانی-اشراقی است و برای تحلیل و فهم آن در عین سادگی، تکثر و تکرار در آرایه های تزیینی در هنرهای مختلف، باید به صورت درون شناختی به آن نگریست. در جریان سنت گرایی، تعدادی اندیشمند ظهور یافتند. یکی از این افراد برجسته تیتوس بورکهارت است. او فلسفه نمادهای قرون وسطایی و شرقی را بر اساس حکمت خالده بیان و تفسیر نمود. وی هنرهای سنتی را به قدسی و غیر قدسی تقسیم کرد و فرش بافی ذیل هنر سنتی غیر قدسی لحاظ گردید. فرض مقاله حاضر این است که نقوش فرش با آرایه های گیاهی بر اساس نظرات بورکهارت از وجوه مفهوم آرایه و رنگ ، قابل تأویل و بررسی هستند. هدف این پژوهش تحلیل نقوش و نمادهای فرش گلدانی کرمان بازمانده از اواخر قرن 17 م. یعنی دوره صفویان، بر مبنای تفکر سنت گرایی به طور اخص بورکهارت است. طبق نظر وی تنها در پوشش نمادهایی که با طبیعت پیوند دارند ممکن است بتوان ذات حق، یعنی مقصود هنر سنتی را تصویر کرد و رسیدن به این هدف از راه هنر واقع گرایانه امکان پذیر نیست، زیرا حقیقت، عیان و زمینی نیست. این پژوهش به این پرسش ها پاسخ می دهد: فرش گلدانی کرمان دارای چه نمادهای بصری است؟ نقوش و رنگ های آن در سیر تاریخچه نقوشِ چه آثاری قابل رؤیت هستند؟ و چگونه می توان نقوش فرش و بالأخص فرش مورد نظر را از منظر بورکهارت مورد بررسی و تحلیل قرار داد؟ روش این تحقیق از نوع توصیفی تحلیلی با رویکرد تاریخی بوده و جمع آوری اطلاعات به صورت اسنادی است. تحلیل نقوش فرش گلدانی کرمان نشان می دهد که نقوش گیاهی فرش و نماد درخت از ادوار کهن مانند دوره هخامنشی آمده اند، با گذر زمان نقوش دایره به مارپیچ تکامل پیدا کرده و به خطوطی که گل و برگ بر روی آن نشانده می شدند، یعنی ختایی و درنهایت به اسلیمی تبدیل گردیده اند. نقش گلدانی فرش، نماد الهه زمین- مادر یعنی سرچشمه حیات است. رنگ آبی فرش در تمامی هنرهای سنتی ایرانی و اروپایی از طبیعت و آسمان سخن می گوید و نماد ایمان قلبی و الوهیت است. تکثر در آرایه ای گیاهی فرش به این تفکر بازمی گردد که جهان از هماهنگی پی ریزی شده، در عین این حال که تکثر در پدیده ها وجود دارد، درنهایت همگی به ذات مطلق و واحد خداوند برمی گردند و گل های شاه عباسی یا گل لوتوس در باور هندی محمل آفرینش ابتدایی است. بر مبنای دیدگاه بورکهارت، تنها کسی که اشراق درونی داشته باشد توانایی خواندن طبیعت و درنهایت، نمادها را خواهد داشت.Recognizing the Structure of the Kerman Vase Carpet from the Late 17th Century from Burckhardt’s Point of View
Titus Burckhardt was a Swiss traditionalist theorist who dedicated his life to studying various cultures and beliefs, including Islam. He explained and interpreted the philosophy of medieval and Eastern symbols based on the Perennial Wisdom. According to Burckhardt, the complete expression of the relationship between art and metaphysics can be found in Plato’s statement: “Beauty is the splendor of truth.” In his view, it is only through symbols connected to nature that one can depict the essence of truth, which is the aim of traditional art. Realistic art cannot achieve this goal, as truth is neither evident nor earthly.Burckhardt divided traditional arts into two categories: one includes arts in Islamic civilization, such as painting and music, which are non-sacred arts, and the other, like mosque architecture and calligraphy in Islam or church architecture in medieval Christianity, as sacred art. Sacred art is a part of traditional art that is directly and intimately connected with religious principles and is related to religious rituals and ceremonies. To distinguish it from traditional art, it is referred to as sacred or holy art. The art of carpet weaving, which is related to this research, is considered a non-sacred traditional art. The hypothesis of this article is that the motifs of carpets featuring plant ornamentation can be interpreted through the lens of ornamentation and color, drawing on Burckhardt’s perspectives.This article posits that the motifs of carpets featuring plant ornamentation can be interpreted through the lens of ornamentation and color. This research aims to analyze the motifs and symbols of the 17th-century Kerman vase carpet, a relic from the late Safavid period, based on the philosophy of traditionalism, particularly Burckhardt’s perspective. This research addresses the following questions: What visual symbols are depicted in the Kerman vase carpet? In the history of motifs, what works do its patterns and colors reflect? And how can the motifs of the carpet, especially the one in question, be analyzed and examined from Burckhardt’s point of view? The research method is descriptive-analytical with a historical approach, and information is gathered through documentary sources and literature. The pinnacle of carpet design and weaving in Iran was achieved under the support of the Safavid dynasty from 907 to 1152 AH (1501-1739 AD). During the Safavid era, the city of Kerman gained real significance thanks to the efforts of Ganj Ali Khan. According to Sir John Chardin, the best and largest carpets that made their way to royal courts were mostly designed and woven by the skilled artists of Kerman. One reason for the fame of the illustrious Kerman carpets is the abundance of patterns and designs and the use of a diverse range of colors that are completely in balance with each other. The vase-design carpet woven in Kerman in the 17th century represents swirling, intertwined plant motifs of arabesque leaves and flowers, predominantly using blue tones on its background. This carpet is identified as having a vase design due to the small vase motifs from which leaves emerge. The vase symbolizes the earth-mother goddess: “A distinction must be made between the mother goddess and the earth-mother goddess. The earth-mother goddess is the source of life and has been instrumental in primordial creation, eternally a source of abundance for all natural phenomena; everything comes from her and returns to her, and the world is her body.” Moreover, plant motifs, especially trees, have held such prominence in all ceramics, textiles, paintings, and even carvings throughout Iranian history that they have been regarded with respect by renowned artists. The cypress trees depicted on the murals of Persepolis are among the oldest works demonstrating the importance and prestige of this creation of the Lord among the artists and kings of the Achaemenid dynasty. Especially regarding the arabesque motifs, there is an older example, although it differs from later arabesques, it is undoubtedly from the early stages of the transformation of simple floral motifs into arabesques. This example is a felt piece discovered along with the findings of the Pazyryk Valley. Regarding the concept of the arabesque motif, Burckhardt writes that it is not merely a substitute for figurative art, which is prohibited in Islam. Even though there are different artistic interpretations of this law, the arabesque, with its rhythmic repetition, serves a very different artistic purpose than figurative art and stands in direct opposition to it. The arabesque does not captivate the eye to draw it into an imaginary world, but on the contrary, it liberates the eye from all mental distractions. The arabesque conveys no particular thought and more accurately represents a state of being that is simultaneously calm and rhythmic. The arabesque is an abstract art form, composed according to conscious rules, devoid of any subjective, semi-conscious, or hesitant elements. The arabesque, with its vines of pure rhythm, exhibits an unbroken flow, opposing stages, and a balance of solid and empty shapes. At times, this art has been deemed “lacking human qualities” due to its abstract and formalistic nature. It speaks of the centrality of the human spirit and soul among purely plant-based decorations, devoid of any non-plant-based decorations. Burckhardt states that from the perspective of a Muslim artist or craftsman in the Islamic world, the geometric intertwining pattern was undoubtedly the most rational approach to ornamenting a surface, as this motif points to the idea that divine unity or the oneness of divinity is the foundation of the endless variety of the world. Indeed, the unity of divinity lies beyond all manifestations because its essence, which is total and whole, leaves nothing outside of itself and encompasses everything. Nevertheless, it is through the harmony cast over the world that divine unity becomes apparent, and harmony is nothing but “unity in diversity,” just as “diversity in unity” exists. In addition to the arabesque motifs, the Shah Abbasi flower (lotus) also appears in the vase carpet motifs. According to Burckhardt’s writings, in Indian culture, Agni is the spiritual seed or gemma from which the totality of human nature grows; therefore, Agni is hidden in the sacrificial altar, just as it is concealed in the human heart. It is born from the primordial waters, which are the sum of all potentialities, whether spiritual or cosmic and for this reason, the lotus flower serves as its vehicle. Burckhardt asserts that the art of carpet weaving, a distinguished hallmark of the Islamic world, has not been hindered by the exclusive use of geometric forms following artistic compositions on a flat surface and the absence of images in the literal sense. Although the arabesque functions like rhythm and meter, it maintains its primary connection with plants. Its plant-like virtues manifest on suitable occasions, and its stylized framework, along with the unique genius of the artist or ethnic group, reconciles the artwork with nature. Despite distancing itself from realism, it remains connected to abundance and fertility, as in a dry, barren land, decorative motifs must present an image of wealth and the abundance of greenery before the eyes. The sublime theme of the urban carpet is the garden, which is naturally a depiction of the Quranic paradise, described as “gardens beneath which rivers flow.” It is woven with representations of the heavenly nature that also cover the earth, framed by a border resembling a river, which is filled with floral ornaments of Shah Abbasi flowers or lotuses and leaves placed upon Khatai motifs. This is based on the idea that in the Quran, “al-Jannah” (paradise) has two meanings: “garden” and “concealment.” Regarding the color of the carpet, the Kerman vase carpet is primarily blue with crimson-red borders. Blue is a soothing and powerful color that conveys serenity, loyalty, and faith. According to Burckhardt, blue is a color that has been extensively used in sacred places, such as the glazed tiles of mosques and the Qur’anic inscription tiles across different Islamic periods and countries, as well as in the stained-glass windows of medieval churches. This aims to instill a sense of freshness and coolness in the space., much like the shade of an oasis in the desert. In summary, the analysis of the Kerman vase carpet reveals that the plant motifs of the carpet and the symbol of the tree date back to ancient times, such as the Achaemenid period. Over time, the circular motifs evolved into spirals and then into lines adorned with flowers and leaves, known as Khatai, and ultimately became arabesque motifs. The blue color of the carpet, in all traditional Iranian and European arts, speaks of nature and the sky and symbolizes heartfelt faith and divinity. The abundance of plant ornamentation in the carpet reflects the idea that the world is based on harmony; despite the diversity of phenomena, they all ultimately return to the absolute, unified essence of God. The Shah Abbasi flowers or lotuses, in Indian belief, serve as the vessel for primordial creation. According to Burckhardt, only someone with inner illumination can read nature and ultimately understand the symbols. He believes traditional art aims to depict the essence of truth solely through symbols linked to nature. Achieving this goal is not possible through realistic art, as truth is not manifest and earthly.
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