تجلی بصری جایگاه معمار به مثابه هنرمند در کتیبه نگاری دوره صفوی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
تاریخ معماری امری چندبعدی است و برای شناخت صحیح آن لازم است جنبه های گوناگونش بررسی و تحلیل شود. یکی از زمینه های مطرح در این حوزه شخص معمار و جایگاه او در دوره های مختلف است. دوره صفویه به سبب تحولاتش مقطع مهمی در تاریخ معماری ایران است که در آن نسبت به دوره های پیش تر معمارانِ شناحته شده بیشتری مطرح شدند و نیز نوعی از تاریخ هنر با محور نام هنرمندان در این دوره پدید آمد. توجه بیشتری که در این عصر به هنرمندان در نوشته های تاریخ هنر به وجود آمد این سؤال را پیش می آورد که این افزایش توجه در آثار معماران چه بازتابی داشته است؟ آنچه در این آثار بیش از هرچیز می تواند نمایانگر این امر باشد، کتیبه های حاوی نام معماران است که همانند صحنه ای جایگاه معمار به مثابه یک هنرمند را نمایش می دهند. به این ترتیب هدف پژوهش حاضر بررسی جایگاه معماران در دوره صفوی ازجهت جلوه بصری آن در کتیبه های معماری با تمرکز بر کتیبه های حاوی نام معماران است. این پژوهش از نوع کیفی و با شیوه تحلیل محتوا انجام شده است. داده های آن نیز با شیوه اسنادی گردآوری شده اند. بررسی حضور نام معماران در کتیبه های دوره صفوی و در قیاس با پیش از آن روشن می سازد که تغییر در محل قرارگیری و محتوای آن ها شامل نحوه نام بردن از معمار و نوع صفاتِ استفاده شده برای او و همراهی اسامی شاهان و حامیان حکومتی تغییرات عمده در نمونه های بررسی شده است که افزایش جایگاه معمار را همگام با آغاز تاریخ نویسی هنر و پرداختن بیشتر به هنرمندان در نوشته ها نشان می دهد.Visual Manifestation of the Architect’s Standing as an Artist in the Inscriptions of the Safavid Period
Background and Objectives:
The history of architecture is multifaceted, requiring analysis of various aspects, including the architect and their role across different periods. The Safavid era, marked by significant transformations, is a pivotal period in Iranian architectural history. During this time, a form of art history emerged, centered around the names of artists. The heightened attention given to artists in Safavid writings raises the question: How is this reflected in the works of architects? A prominent manifestation of this trend is found in inscriptions bearing the names of architects, which serve as a platform to showcase their elevated status as artists.
This research aims to examine the status of Safavid architects through the lens of their visual representation in inscriptions, focusing on those that include the names of the architects themselves. A qualitative content analysis methodology will be employed, with data collected through documentary methods. By comparing the presence of architects’ names in Safavid inscriptions to earlier periods, significant changes in their placement and content will be explored. These changes encompass the manner in which architects are named, the types of attributes ascribed to them, and the inclusion of the names of royal patrons and government officials. These substantial shifts in the studied samples indicate an enhanced status of architects, mirroring the concurrent emergence of art historiography and a heightened focus on artists in written works.
Methodes:
This research employs a qualitative approach, with data gathered through documentary methods and analyzed using content analysis techniques. Initially, by examining inscriptions containing architects’ names from the pre-Safavid period, their general characteristics are identified, and a notable example is analyzed in detail. Subsequently, by analyzing Safavid inscriptions, changes in these characteristics are revealed, enabling a comparison with the earlier period. This comparison facilitates an interpretation of the increased status of the architect as an artist, as manifested in these inscriptions.
Due to the abundance of Safavid buildings, a sampling method was employed, drawing from two primary sources:
A comprehensive list of Islamic period buildings across Iran (Haji-Qassemi, K. 2015);
A focused selection of buildings from Isfahan, given its significance during the Safavid era (Honarfar, L. 1971).
Ultimately, 22 buildings with diverse functions and locations were identified as possessing inscriptions bearing the architects’ names, forming the statistical population for this study.
Findings:
The analysis reveals that in Islamic inscriptions from the pre-Safavid period in Iran, architects’ names were typically mentioned at the end of foundation inscriptions or in separate frames, often using the term “Amal” (work of) (Blair, S. 1998; Blair, S. S. 2015). Additionally, certain attributes indicating the profession or expressing humility were employed (Blair, S.1998). A notable example is the inscription of Qavam al-Din in the Goharshad Mosque (Babaie, S.2017), which is located separately at the bottom of the qibla iwan and accompanied by the term “Amal”, humility-indicating attributes, and the word “Tiyan” (builder or mason) (Dehkhoda, A.1994), without mentioning the name of the king or governmental patrons.
In contrast to the Timurid period, where inscriptions primarily adorned buildings with limited functions, the Safavid era witnessed a diversity in the types of buildings bearing inscriptions (Khosravi Bizhaem, F. 2017). The information for the samples in this study was obtained from (Honarfar, L. 1971; Babaie, S.2017; Khosravi Bizhaem, F. 2017; Eghtedari, A.1974; Javadi, S. 2008; Hoseyny, S. H.; Zarei, H., & Razani, M. 2020; Sharahi, E. 2013; Faiz Qomi, A. 1971; Karimi, B.1948; Grayeli, F.1995; Maherolnaqs, M. 1997; Mokhlesi, M. A. 1990; Mashkuti, N. 1966). The architects’ names in these samples are inscribed either separately or as a continuation of another inscription, with the texts presented in both Arabic and Persian, and some in poetic form.
Regarding placement, the architects’ names are situated in various parts of the buildings. The entrance has emerged as the most common location, with over half of the examples featuring the architect’s name prominently displayed at the main entrance. In nearly half of these cases, the architect’s name is found on the main inscription of the entrance portal or separately below, above, or at the end of it. The prevalence of such inscriptions in significant locations like the entrance portal, compared to earlier periods and the example of Qavam al-Din’s inscription, signifies a shift in the status of architects. In other instances, architects’ names are generally located in important areas of the building.
Three key points emerge from the analysis of inscription content. First, while the term “Amal” is still used in half of the examples, there is greater diversity in how architects are named compared to earlier periods. Second, some architects’ names are accompanied by new types of attributes that signify an elevated status. Third, in three-quarters of the examples, the architects’ names are inscribed alongside or near the names of kings, governmental patrons, or both.
Conclusion
The analysis of inscriptions containing architects’ names in the studied Safavid samples reveals significant changes compared to earlier periods. These changes encompass both the placement and content of inscriptions. Approximately half of the inscriptions are situated in prominent locations, such as entrance portals, while the content of these inscriptions exhibits variations in the naming of architects and the types of attributes used to describe them. Notably, new attributes have emerged that signify an elevated status for architects. Furthermore, three-quarters of these inscriptions are placed alongside or near the names of kings or governmental patrons. The Masjid-e Jameh Abbasi and the Ali Mosque in Isfahan exemplify these changes, with architects’ names inscribed at the entrance portal, accompanied by attributes that indicate prestige and placed alongside the names of the Safavid king and governmental patron.
Highlights:
The analysis of the placement and content of Safavid inscriptions containing architects’ names, when compared to earlier periods, provides insights into the evolving status of architects. The placement of most of these names in prominent locations, alongside or near the names of kings or governmental patrons, and the emergence of attributes that recognize the architect’s stature suggest an elevated position for architects. This development aligns with the broader transformations of the Safavid era, the emergence of art historiography, and the increased focus on artists in written works. These findings are further corroborated by historical references to specific architects.
Architect,Architect’s Status,Inscription,Architect’s Name,Safavid Period,
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