تبیین صورت بندی ساختاری قالی های محرابی مغولان هند (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هنر اسلامی در هندوستانِ عهد مغول به واسطه کارگاه های منسجم سلطنتی و با نظارت و حمایت دربار تعالی یافت. فرش بافی در این عهد با حُسن توجه پادشاهان، در ایالت های سلطنتی هند رونق گرفت. ازاین رو برخی تولیدات کارگاه های بافندگی فرشِ مبتنی بر ساختار قالی های محرابی، نسبت به نظایر خود در دیگر ممالک اسلامی (ایران و ترکیه)، از تمایزات بصری قابل تأمل برخوردار هستند. هدف از ارائه این پژوهش، معرفی انواع قالی های محرابی تولیدشده در دوره حاکمیت مغولان هندوستان است. این مقاله به روش توصیفی-تحلیلیِ مبتنی بر منابع مکتوب و تصویری کتابخانه ای و با شیوه تحلیل مضمون، به این پرسش پاسخ می دهد که وجوه بصری مشهود در قالی های محرابی مغولان هند شامل چه محورهایی است. نتایج حاصل از روند پژوهش، معرفی دو شکل متفاوت از محراب در نمونه های مطالعاتی بود. همچنین حاکمیت نقوش گیاهی (ختایی) و هندسی به صورت آرایه های تزیینی در فضاهای مختلف قالی ها مسجل شد. به علاوه دو اصل تقارن و گوشه سازی در حاشیه ها برپایه شیوه های متقارن سازی تحلیل شد. افزون برآن، تناسبات متن و حاشیه مبتنی بر عرض حاشیه هر فرش، در موارد قابل بررسی ارزیابی شد. با بررسی محورهای یادشده محرز شد که نمونه های هندی به واسطه کاربست نوع نقش مایه ها، عمدتاً کارکرد تزیینی داشته اند و اهداف مذهبی از تولید آن ها، به استثنای محرابی های چندگانه (صف ها)، کمتر مورد توجه بوده است.Explanation of the Mehrabi Carpets’ Structural Formulation during Indian Mughals Era
Islamic art in Mughal India flourished through royal workshops under the supervision and patronage of the court. During this era, carpet weaving developed by the attention of the kings in the royal states of India. Some productions of Mehrabi carpets have remarkable visual differences with their counterparts in other Islamic countries. The purpose of presenting this research is to introduce different types of Mehrabi carpets produced during the Mughal rule in India. This article hires a descriptive-analytical method based on written and visual library sources to answer the following question: Which axes exist in visual aspects evidents of the Indian Mughal Mehrabi carpets? The results of the research process introduced two different forms of Mehrab in the study samples. Also, the dominance of plant (Khatai) and geometric motifs as decorative arrays was confirmed. The two principles of symmetry and cornering in the margins were also analyzed. The proportions of the main part and the border were evaluated in cases that could be investigated. It was also confirmed that the Indian samples mainly had a decorative function due to the use of motifs, and the religious purposes of their production, except for multiple Mihrabs (Saf), were less important.
1. Introduction
The most stable rule of Muslim sultans in India belongs to the Mongols (1526-1858 AD). Some of their sultans were effective in the advancement of culture and art during their long reign. The foundation of carpet weaving in India as a court product took place from the end of the 16th century (10th A.H.) under the influence of Iranian products with the presence of Humayun, Baber's son, in the Safavid Shah Tahmasab's court. In this period, numerous carpets with high diversity in patterns and designs were produced. One of the interesting types among them is Mehrabi carpets, which are attributed to this group due to their semi-directional design and Mehrab structure. According to the formation of the first carpet weaving workshops in India under the influence of the Iranian school, in these carpets the type of motifs and visual compositions and design principles can be examined. This research answers the question, what are the visible aspects of the Mehrabi carpets of the Indian Mughals? The main goal of this research is to introduce the types of Indian Mughal carpets. Considering the production of different types of carpet design in different weaving centers with native and local characteristics, it is necessary to provide an opportunity to compare samples of the same design by searching for different types.
1.1. Detailed Research Method
This research is qualitative and has been done in a descriptive-analytical method. Collecting of research data has been done by library method, which is based on reading written sources and observing preserved samples in different museums. The sampling in this article is purposeful; the goal is to select items that benefit from special visual coordinates (having Mehrab design) among a group of samples belonging to a specific time and place. In this way, seven examples of Mehrabi carpets having a valid museum ID were selected. The method of analysis is based on thematic analysis; in this regard, analyzing information to achieve classification and summarizing the findings in order to present concepts governing the data is the main task of the researcher.
2. Discussion
In the beginning, the Mughals of India were mainly focused on the excellence of architectural arts and book design. However, in the middle of the 17th century, interest in luxury goods such as jewelry, weapons, textiles and carpets, precious stones, and woven silk became widespread. It is a certain historical fact that India lacked a carpet weaving industry until the end of the 10th century AH, and the production of that region started due to the presence of Iranian carpet weavers and products in the court of Humayun Shah and expanded during the reign of Akbar Shah. What has penetrated from the architecture in the design of the carpet is the altar of sacred spaces, which has a remarkable background in religious culture. Hosoori states that the altars belonged to the followers of the Mehr religion in the beginning. With the arrival of Islam, figurative motifs were removed from the decoration of the altars and the decoration of this space was replaced with flowers and decorative lines.
A small part of the Indian floral carpets that were produced during the reign of the Mughal kings is dedicated to Mehrabi carpets. The largest number of Indian Mughal Mehrabi carpets includes a main altar with a plant species in the middle and is called a tree Mehrabi. In these Mehrabi designs, the space under the arch of the altar (Mehrab) is decorated with one or more species of trees. Another group of single-arched Mehrabi carpets produced during the Mughal dynasty of India are attributed to a region in northern India (Kashmir or Lahore) and are called Hazargol (thousand flowers). The Hazargol pattern in Indian products has a directional structure consisting of an arch full of small and abundant flowers rising from small stacks or vases at the bottom of the background. Some examples of multi-arched altars are large pieces of carpet with several consecutive altars next to each other, which use is explained mainly in mosques, and they are called Saf (rows). During the Mughal era of India, a few parts of the examples of various museums were dedicated to poly-Mehrab carpets. In addition to the shape of the altar and the type of motifs, it is also possible to refer to how to apply the rules of carpet design (combination of main and secondary borders, methods of applying symmetry and cornering in the border of Mehrabi carpets, cornering of borders) and the proportions between main design and border in Indian Mehrabi carpets.
3. Conclusion
In connection with the axis of the research based on the explanation of the structural features of the Indian Mongolian Mehrabi carpets, seven Mehrabi carpet samples with valid ID and attributed to the mentioned period were selected. In order to answer the main question of the research and to get the visual aspects evident in Mehrabi carpets, the following axes were considered as verifiable indicators; the shape of the altars, the motifs used in the different spaces of the carpets, the composition of the border strips and the rules governing the design of the carpet and its aesthetics (symmetry, cornering and proportions between the text and the border).
The shape of the altars in the examples follows two major and common structures (single altar and multiple altars in the form of a row) in all the altar productions of Islamic countries. Patterns are generally plants that decorate the background and border of the carpet in some flower beds and in some collections of flowers and blossoms. Naturalism, movement, and struggle were evident in these carpets through the tricks of illustration which are native coordinates of Indian works of art. It seems that the variable number of border strips in the studied carpets follows the dimensions of the carpets, and due to the variety included in their arrangement, it is unlikely that the composition of the border striping follows the local index. Symmetry and cornering in the margins have been executed precisely and it seems that the presentation of a beautiful and symmetrical structure by the artist in the margin as a frame around the main field has been very important and they put their best efforts in showing it. Proportions in most samples had a variable trend, just like the productions of other regions. But among the samples under study (four samples), proportional structures had a more obvious situation.
Considering the results obtained from the examination of each of the above axes, it is clear that items such as decorative motifs, symmetry and proportion, which had a deeper connection with the beauty of the structure of the work, have been displayed with more precision and effort by the Indian artist. The artist has used the arch or Mehrab in order to show a landscape full of visible and tangible motifs in their native nature and surroundings. Symmetry and proportions have also been considered as visual indicators to create a magnificent work without any defects. Thus, the creation of beauty and visual pleasure can be considered the main goal of the artist in the design of Mehrabi carpets, and it seems that the religious function of these examples seems unlikely except for multiple Mehrabi carpets.
4. References
Abul Fazl. (1977). The Aien Akbari, Calcutta, Royal Asiatic Society of Bengal.
Ahmadipayam, R. and Marasi, M. (2017). Identification and classification of the existing animal motifs in Indian Timurids’ carpets,<em> Journal of Subcontinent Researches, </em>8(29), 7-28.
Bassam, S.J. (2013). Farhang Do Zbaneh Farsh Dastbaf, Tehran, Iran Encyclopedia Compiling Foundation.
Beattie, M.H. (1972). The Paravicini Prayer Rug; In Art of the Mughal Carpet, Hali, 4(3), 220-237.
Bennett, I. (2004). Rugs & Carpets of The World, London: Greenwich.
Biadar, H. and Toufighi, P. (2014). Symbology of altar (mihrab) in mysticism and Islamic Art, Motaleat-E-Manavi Journal, 3(11-12), 153-173.
Black, D. (2015). The Atlas of Rugs and Carpets, Tehran, Iranian Institute for Encyclopedia Research.
Blair, Sh. & Bloom, J.M. (2006). The art and architecture of Islam, Tehran, Soroush.
Bolkhari Ghahi, H. (2017). Hekmat Honar Hend, Tehran, Soreh Mehr.
Cohen, S.J. (1986). Textiles "Islamic Heritage of the Deccan, Bombay, 1986.
Coomaraswamy, A.K. (2003). Introduction to Indian art, Tehran, Rozaneh and Farhangestan honar.
Daneshgar, A. (1993). Farhang Jame Farsh, Tehran, Dey.
Dehkhoda, A. (1998). Loghat nameh, Vol 6 and 13, Tehran, Tehran University.
Dimand, M.S. (1986). A handbook of Muhammadan art, Tehran, Elmi-Farhangi.
Ellis, C.G. (1988). Oriental Carpets in the Philadelphia Museum of Art, Philadelphia.
Ettinghausen, R. and Grabar, O. (2012). The art and architecture of Islam 1, Tehran, SAMT.
Ford, P.R.J. (2002). Oriental Carpet Design, London, Thames & Hudson.
Forooghinia, M (2016). Comparative study of sanctuary designs in the traditional textiles of Iran and India, <em>Journal of Subcontinent Researches</em><em>, </em>7(25), 69-92.
Guy, J. and Swallow, D. (1990). Arts of India 1550-1900, London, Victoria and Albert Museum, 1990.
Hann, M. (2003). Conceptual Developments in the Analysis of Patterns Part One: The Identification of Fundamental Geometrical Elements, The Nordic Textile Journal, 32-43.
Hann, M. (2013). Symbol Pattern & Symmetry, The Cultural Significance of Structure, NewYork, Bloomsbury.
Harris, H.T. (1908). Monograph on the Carpet Weaving Industry of Southern India, Madras.
Hassouri, A. (2006). Mabani Tarahi Sonati dar Iran, Tehran, Cheshmeh.
Kendrick, A.F. and Tattersall, C.E.C. (2019). Hand-woven carpets, Oriental & European, Tehran, Mirdashti.
Makinejad, M. (2014). Centralism, Symmetry, and Repetition in Persian Traditional Arts, kimiahonar, 3(10), 99-108.
Mojabi, A. and Fanaei, Z. (2009). Moghadamei bar Tarikh Farsh Jahan, Najaf Abad: Najaf Abad Azad University.
Osareh, A.H. and Aghakaboli, A. (2002). Farhang Do Zabaneh Karbordi Takhasosi Vajheghan Farsh, Isfahan, Goldasterh.
Parham, S. (1985). Dastbaftehhaye Ashayeri va Rostaei Fars, Vol 1 and 2, Tehran, Amirkabir.
Pelsaert, F. (1925). Jahangir s India, trans by William h. Moreland and Pieter Geyl, Cambridge.
Ravandi, M. (2008). Tarikh Ejtemaei Iran, Vol 5. Tehran, Neghah.
Taghizade Borujeni, R. and Neamat Shahr babaki, A. (2021). An Overview of Gurkanid Carpets in India (Case Study of the Metropolitan Museum of Art in New York), <em>Journal of Subcontinent Researches</em>, 13(41), 27-46.
Talebpor, F. (2012). Mansojat Sonati Hend, Tehran, Alzahra University.
Tanavoli, P. (1989). Farshhaye Tasviri Iran, Tehran, Soroush.
Tuzuk-i-Jahangiri, translated Alexander Rogers and ed. Vol 2, Lahore, 1974.
Vakili, A. (2003). Shenakht Tarhha Va Naghshehayeh Farsh Iran va Jahan, Tehran, Naghsh Hasti.
Vakili, A. and Esmaeili Jaghargh, M. (2004). Tarahi Naghsheh ghali, Tehran, Naghsh Hasti, 2004.
Walker, D. (1997). Flowers Underfoot: Indian Carpets of the Mughal Era, NewYork, Metropolitan Museum of Art.
URL 1: https:// www.metmuseum.org/art/collection/search/452554
URL 2: https://recherche.smb.museum/detail/1525405/kaiser-dschahangir-und-der-thronfolger-prinz-khurram-bei-der-vers
تبلیغات
