مطالعه تطبیقی عناصر فرمی قالی طرح هزارگل گورکانیان هند و ناظم قشقایی فارس در راستای روابط میان فرهنگی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هنر فرش، از عرصه های ظهور روابط میان فرهنگی در دوره صفوی و گورکانیان هند بوده است که طرح های هزارگل و ناظم، این روابط عمیق را به خوبی نشان می دهند. هدف پژوهش حاضر، شناخت و دستیابی به ویژگی های سبکی طرح هزارگل و ناظم در دو نمونه منتخب قالی های گورکانی و صفوی است که این مهم با شناسایی تفاوت ها و اشتراکات در عناصر فرمی (طرح، نقش، رنگ و ترکیب بندی) دو نمونه مربوط به دو پیکره مطالعاتی صورت پذیرفته است. در راستای این هدف، این پرسش اصلی مطرح می شود که تأثیر روابط میان فرهنگی در ساحت دو طرح ناظم ایران و هزارگل هند چگونه به بیانی مشترک در زمینه تمهیدات فرمی انجامیده است. دو نمونه انتخابی این پژوهش به روش هدفمند نمونه شاخص، انتخاب و به روش کیفی، تحلیل شده اند و داده های گردآوری شده اسنادی این پژوهش به روش تطبیقی-تحلیلی از نوع مجزاسازی بررسی شده اند. نتایج نشان می دهد که گونه های مختلف روابط میان فرهنگی در شکل گیری تشابهات فرمی فرش های دو منطقه، تأثیرات قابل توجهی داشته است و درضمن ویژگی های سبکی خاص هر منطقه وجه تمایز و تفاوت نقوش و طرح های قالی های مورد مطالعه است. به کارگیری نقوش مشابه، استفاده از رنگ های روناسی در متن و سرمه ای در زمینه حاشیه، از وجوه بارز اشتراکات هستند. باوجود وجوه اشتراک، افتراقات چشمگیری نیز مانند ظرافت نقوش، تنوع رنگی و خطوط دورگیری دیده می شود؛ درنتیجه ویژگی های سبکی متفاوت، دو فرهنگ فرش بافی متفاوت را به وجود آورده است.A Comparative Analysis of Mughal Empire Hazargol of India and Nazim Qashqai of Fars Carpet Designs: Formal Elements and Cultural Influences
The art of carpet weaving has been one of the factors in the emergence of intercultural relations between the Safavid governments of Iran and the Gurkhani of India. For example, the designs of Hazargol and Nazem show these deep relationships well. The main purpose of the present study is to identify and achieve the stylistic features of "Hezar Gol" and "Nazem" carpet designs. This study identifies the commonalities and differences in the form elements (design, pattern, color, and texture) of the two samples related in the two study bodies. To achieve the above goal, the question is: How have "Hazargol and Nazem" carpet designs influenced each other (in the intercultural relations) in terms of Common discourse and stylistic features? The two selected samples of this research are: Hazargol and Nazem carpet designs that met the criteria for stylistic features. The commonalities feature of using similar motifs are the use of greenish-yellow colors in the texture and navy blue on the edge of the carpet. Some of the differences are: the shape and size of the motifs, the variety of colors…
Introduction
The artistic taste and creativity of every nation is rooted in and inspired by the culture, traditions, historical background, ways of life, and environment of that nation. One of the arts that has reached a flourishing period in Iran over time is the art of carpet weaving. The mastery and taste of Iranian artists in the field of carpet weaving have been demonstrated. The reason for the flourishing and excellence of this art should be sought in the inherent characteristics of Iranians and the climatic characteristics of this land. (Nasiri, 2006: introduction). Iran and India have a long and ancient civilization in science, culture and art. Extensive relations and interactions between the two nations during the Safavid era and the Mughal Empire provided the basis for cultural exchange. The Mughal Empire kings' great interest in art and luxury led to the spread of carpet weaving and other arts in the Indian subcontinent.
1.1. Research Methodology
In terms of purpose, the present research includes qualitative research, and in terms of method, it includes comparative-analytical research. This research also analyzes and interprets the reasons for the similarities and differences between the two carpet designs. This research pays attention to the intercultural relations between the two carpet designs. These relations are the basis of the formal elements that this research analyzes and explains. The method of data collection in this research is literature review. Carpet samples from two studies of Nazem Iran and Hazargol Gorkani carpets are chosen using purposive sampling criteria.
The method of data collection in this research is literature review. Carpet samples from two studies of Nazem Iran and Hazargol Gorkani carpets are compared in isolation. This research conducts a comparative analysis of formal elements point by point (Barnett, 2029: 190). In terms of time, the type of comparison is a transverse or simultaneous comparison (two studies are related to the same period of time) (Zekrgo, 2002: 165).
Discussion
Intercultural relations include two categories of communication and culture. Culture and communication, as a process, are necessary for humans, (Prosser,1978: 336) that Habermas considers the beginning of culture as communication (Maulana1997). Therefore, culture and communication are two inseparable categories and each one has no meaning without the other. This interaction between communication and culture has made intercultural communication a subset of culture and communication. The study of intercultural relations provides tools and methods that enable communication between one's own culture and other cultures; and also, clarifies for us the issues that can be taken into consideration as desirable issues between the two cultures in this connection (Zakaryai Kermani, Sha'airi, and Sojoudi,2012:13). In this research, intercultural communication is examined as the main factor of formal relations in Iranian carpets in the Safavid and Gurkanian dynasties of India. The most important facilitating factors in intercultural communication among Iran in the Safavid dynasties, Gurkans in India, and the similarities of the carpets of these two regions that have also been influenced by these factors are: migrations, religion, art, politics, and trade.
The variable of intercultural relations as the causal variable has an effect on the elements of the form, which include the variables of altar (Mihrab), design pattern or motif (head and torso, vase and flowers), color, and also combination of elements (arrangement of flowers and colors) as the non- causal variable. Of course, formal variables are effective against causal variables (intercultural relations). Affecting and accepting the influence of causal and non-causal variables has contributed to this design. In Nazem Qashqai carpet, the texture of the carpet is a nomadic village style: the variables are with simple and lines and flowers and patterns stand out in the flat form. The background of the carpet is not very crowded and there is space between the motifs: flowers and blossoms are observed in odd bunches (13, 5, and 7 numbers). The number of colors used is limited and the variety of colors is few. Warm and cold colors are placed next to each other and provide good companionship.
In Gurkanian's Hazargol carpet, which belongs to the urban-palace style, the motifs have curved and swirling lines and are depicted in a naturalistic manner. The carpet has a dense and crowded background, with very little space or distance between the floral and pictorial motifs. The bouquets and blossoms of the carpet are diverse and can be seen in different categories (1,2,3, 4, 5, 7, 8, 9, 11 and 13). This carpet has a high density and variety of colors. Warm colors are dominant in the work, but cold colors are also used sparingly. The small number of cold colors enhances the beauty and charm of the carpet and makes the work pleasant. Yellow is used extensively. Therefore, one of the differences between these two types of carpets is their weaving style.
Conclusion
The intercultural interactions between Iran and India have resulted in many similarities in their cultural and artistic domains. These carpets reflect these relationships. In the Indian Gorkanian and the Fars Qashqai designs, floral motifs such as vases and flowers with light blue color, Shah Abbasi, lily, and five-petaled flower are used. Cypress is used as the pillar of the altar (Mihrab). Also, the color of Runas (red color) is abundant in the texture and dark blue color in the margin, which is one of the similarities of these two carpets. The stylistic features of the two civilizations were revealed by examining and comparing the samples. The Gurkanian carpet is more finely woven, resulting in smaller and more delicate motifs. This is because the Hazargol carpet is an urban-palace fabric with a silk infrastructure. It has a high elegance compared to the Qashqai carpet, which is rural and nomadic. The arches have curved lines and the motifs, especially flowers, are natural and realistic, without embroidered border (margin) lines. This reflects the Gorkan kings' great interest in nature, flowers, and plants.
The background and texture of Hazargol carpet is designed and the space between the main motifs is covered with different bunches of small flowers. At the same time, by using dark and light colors in the bunch of blossoms in the carpet texture, they are hidden as flowers, leaves and stars. The cypress with Runasi (red color) and the same color as the background of the altar stands out between the triangles with a bright yellow color. Along the length of the carpet, a row of flowers and blossoms is skillfully and subtly drawn in the same direction as the cypress, to highlight and emphasize its sacred role in the Hazargol flower carpet. Red and yellow colors are abundant.
In contrast to the Gurkanian carpet, the Qashqai carpet has flowers and bands that are drawn in a primitive, simple, coarser and completely different way.
The background is thin and has a simple weave, and the altar background is light cream, with red triangles and cypress. In Nazem's sample, the cypress trunks touch the floor, while in the Hazargol carpet, the cypress trunks are away from the floor and appear short. Flowers and patterns or motifs in categories 1 (unity), 3 (the link between earth and heaven), 5 (five saints or Ahl al-Kisa), and 7 (layers of heaven or Seven heavens) reflect the religious beliefs and values of Iranians. Flowers and motifs in the background revolve around circular lines, representing wholeness, unity, and eternity. The yellow color is not useful. The flowers and motifs are drawn with lines. The existence of the above-mentioned differences has indicated the stylistic characteristics of the urban-woven Indian and rural-nomadic carpets woven by Qashqai. This is due to the commonalities affected by intercultural relations, which they have been able to preserve in their work and have their own style.
Despite the rich history of intercultural relations between Iran and India, joint projects of the two civilizations have been neglected by Iranian researchers. Hence, conducting further inquiries and examinations on other instances of this artistic design (Hazargol and Nazem) can facilitate the progression and expansion of the scholarly investigations of this art form. The commonalities and differences discussed in this research can inspire future studies in this field. Moreover, tracing the evolution of the design in the two civilizations, from the Gurkani and Safavid periods to the present, can help to identify more regional styles better.
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