سیر تکوین فضابندی و قاب بندی تذهیب قرآن های صدر اسلام تا ظهور ایلخانان (654ه.ق) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
فضابندی و قاب بندی در تذهیب بسیار مهم هستند، چراکه نخستین برخورد مخاطب با اثر به واسطه قاب بندی هایی است که فضاهای رنگ بندی شده را تفکیک می کنند. با توجه به این که تاکنون مطالعه جدی در این حوزه صورت نگرفته است؛ این پژوهش بر بررسی سیر تکوین این دو اصل مورد اشاره در تذهیب قرآن های صدر اسلام تا نیمه سده 7ه.ق، یعنی ظهور ایلخانان، هدف گذاری شده است. دو پرسش اساسی مطرح در این حوزه، بر ارزیابی سیر تحول فضابندی و چگونگی استفاده از نقوش قاب بندی در فضابندی های موجود در آثار این دوره و با در نظر گرفتن انواع قاب و فرم، استوار است. این پژوهش که به شیوه توصیفی-تحلیلی صورت گرفته، از بررسی کتابخانه ای، مشاهدات میدانی و مستندسازی به کمک عکاسی جهت گردآوری اطلاعات بهره برده است. نتایج حاصل نشان می دهد که نخستین نمونه قرآن های کتابت شده فاقد هرگونه فضابندی یا صفحه آرایی منظم و منسجم بوده اند؛ اما بعدها نقوشِ نشان به جهت علامت گذاری بخش های مختلف قرآن کریم بر اساس جزء، حزب، سوره و آیه و به صورت جزیره های پراکنده و فاقد فضابندی منسجم ظاهر می شوند. همچنین هم زمان با تکامل سایر بخش های هنر کتاب آ رایی و تذهیب به تدریج شاهد سیر تحول و تکامل فضابندی هستیم. این سیر تکامل را می توان در قاب بندی آثار مُذَهَب نیز مشاهده کرد، به طوری که پس از نسخ اولیه فاقد قاب بندی می توان به تدریج شاهد ظهور نخستین نمونه ها با استفاده از نقوش جدول کشی بود و بعدازآن به تدریج شیوه های کامل تر و متنوع تری چون قاب اسلیمی، نقوش گره هندسی و کنگره ای-هندسی را در آثار مشاهده کرد.The Development of Spatialization and Framing in the Illumination of the Qur'an from Early Islam to the Advent of the IL-Khans (654 AH)
the different designs and patterns used in Illumination, spatialization and framing are significant since the first aspect of the work that affects the viewer is the color spaces separated by the framing. They also cause the viewer's eyes to turn to the work by creating rhythm and harmony. Spatialization was used to distinguish between different text parts, including verses. However, illuminators gradually learned the impact of this aspect on the beauty of the work, and over several generations sought to improve the quality of spatialization and framing in the art of Illumination. When the word framing is used among illuminators and artists, one thinks of both of the concepts of framing as a definition of different color spaces and of the general and detailed forms and patterns that must be designed for it. Knowing this meaning, this study attempts to clearly define technical terms like the template as a general form of the work, spatialization in the sense of dividing the overall work into various smaller parts and also framing in the sense of using different lines and decorative patterns in spatialized boundaries, and then highlight the differences between these terms. This study also examines the development of the methods of spatialization and framing from the first century after Islam to the middle of the 7th century AH, that is, the advent of the IL khans. This study is conducted descriptively and analytically, collecting information through library studies, field observation, and photography documentation. The authors of this research try to provide quantitative and qualitative results and answer the following questions: What was the evolution of spatialization in the Qurans of early Islam until the advent of the IL khans (654 AH)? How are these spatializations framed, and what kind of frames and forms do they have? The results of this study first suggest that spatialization and framing play an essential role in the quality and beauty of Illumination works because the first encounter of the viewer with the work is through the spatialization and framing of various colored parts, after which other details are determined.Subsequently, the study focused on spatialization and framing development. It was found that the first Qurans did not have spatialization and framing, and the first examples of spatialization, including designs such as the head of a surah, khums, and Ashar, appeared as scattered islands on the pages of the Quran. The first spatializations then organized these arrangements into a simple or patterned table, like a rosary thread, and divided the page into two main sections: the text and the margins. The text space typically featured inscriptions at the top and bottom, while the main margin remained unadorned, with motifs derived from Qur'anic verses appearing only occasionally. It has also been noted that the Illumination motifs were more practical in these first 7 centuries and were designed and executed to make it easier to read the Quran accurately and fluently. As for the framing methods, it was concluded that in this period, the first method was using tabulators, and almost simultaneously, the use of arabesques for framing began. Somewhat later, frames with geometric knot patterns and artichoke Pseudo-geometric frames were used, which visually created more splendid and complex spaces, and a basic method was introduced, further developed later.
تبلیغات
