مطالعه فرم، نقش و کاربرد تبرزین های دوره قاجار (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
پیشینه استفاده از فلز در ساخت اسلحه به دوران پیش از تاریخ برمی گردد. در هر دوره تاریخی به فراخور مواد اولیه در دسترس و شیوه های ساخت، فناوری ساخت سلاح ها نیز تغییر نمود. در دوره قاجار به جهت هم زمانی با انقلاب صنعتی استفاده از سلاح های گرم متداول بود و سلاح های سرد به صورت محدود با کاربرد نمادین و تشریفاتی تولید و استفاده می گردیدند. تبرزین ها گروهی از سلاح های سرد دوره قاجار محسوب می شوند که نقش و فرم آن ها دارای تنوع و گستردگی بسیار است. این مقاله در صدد پاسخ به این پرسش است که چگونه می توان تبرزین های قاجار را از نظر فرم و نقش طبقه بندی نمود و این آثار دارای چه کاربردی بوده اند؟ از این رو هدف این مقاله، مطالعه و طبقه بندی فرم، نقش و کاربرد تبرزین های دوره قاجار است. این پژوهش بر مبنای هدف از نوع کاربردی و از منظر ماهیت و روش، توصیفی تحلیلی است. گردآوری اطلاعات این مقاله به شیوه کتابخانه ای و میدانی صورت گرفته است. نتایج بررسی 1۶ نمونه از تبرزین های دوره قاجار نشان می دهد که همه آثار مورد مطالعه از جنس فولاد هستند که به شیوه ریخته گری ساخته شده اند و در تزیین آن ها اغلب از فنون قلمزنی، طلاکوبی، و حکاکی استفاده شده است. تبرزین های دوره قاجار براساس فرم به چهار گروه تبرزین با تیغه دو لبه؛ تبرزین با تیغه یک لبه و یک سر چکشی؛ تبرزین با تیغه یک لبه و یک سر شبیه اژدها؛ و تبرزین با تیغه یک لبه و یک سر شبیه تاج تقسیم می گردند. نقوش تبرزین ها را می توان در سه گروه شامل نقوش گیاهی، هندسی (شامل گل و برگ، ترنج ها و انواع خطوط و کادرهای هندسی)؛ نقوش کتیبه ای (ازجمله عبارات عربی، شعر فارسی و یا برخی عبارات فارسی شامل نام سفارش دهنده اثر)؛ نقوش انسانی، حیوانی (شامل پیکره های انسانی و حیوانات مختلف مثل شیر، مار، و یا دو پرنده که صورت آنان رو به یکدیگر است) جای داد. تزیینات مجلل این تبرزین ها نشان می دهد که این آثار بیش تر کاربرد نمادین و تشریفاتی داشته اند.A Study of the Form, Role, and Application of Qajari Tabarzin
Introduction
The use of metal in the manufacturing of weapons dates back to prehistoric times; however, over years, the technology used for their production and application has significantly changed. During the Qajar period, particularly due to the Industrial Revolution, firearms became more widespread, while cold weapons like Tabarzin were mainly used as symbolic, ceremonial tools. Tabarzin, as the emblem of power and social distinction, played an important role in the culture and art of this era. This article aims to examine the diversity of the forms and roles of Qajari Tabarzin and to classify their applications by studying sixteen samples of these artifacts housed in museums in Iran and around the world. The findings of this research revealed the variety of decorations, structures, and symbolic uses of Tabarzin, which can contribute to a better understanding of the cultural and social dynamics of that time while highlighting the importance of preserving and reviving this cultural heritage.
Research Method
This article is descriptive-analytic in nature and employs two methods for data collection: i.e., library study and field research. To this end, first information about Qajari Tabarzin were collected and organized from reputable sources. These sources included books, scholarly articles, and historical documents which contributed to the historical and artistic analyses of these artifacts. In the field part, sixteen Tabarzin samples from the Qajar era were purposefully gathered from museums in Iran and around the world. Data collection and observation of visual characteristics of these artifacts were conducted using note-taking tools. Additionally, the method of observing visual evidences, based on the construction techniques of these objects, was carried out in a precise and scientific manner. The combination of these approaches enabled a comprehensive analysis of the form, role, and applications of Qajari Tabarzin .
Research Findings
The findings of the examination of these samples of Qajari Tabarzin indicated that all the pieces examined in this study were made of steel. These tools, regarded as symbols of the art and culture of the era, typically employed various decorative techniques such as engraving, gold plating, carving, and hammering. The predominant method of production for most of these samples was casting, which reflected the adaptation of traditional techniques to the needs of that time and the advanced state of metallurgy during Qajar era. Based on the analyses conducted, these samples of Tabarzin can be classified into four main groups based on their form: 1) Tabarzins with double-edged blade; 2) Tabarzins with single-edged blade and a hammer-shaped end; 3) Tabarzins with single-edged blade and a dragon-shaped end; 4) Tabarzins with single-edged blade and a crown-shaped end. The data analysis revealed that the highest prevalence was associated with Tabarzin featuring a single-edged blade and a hammer-shaped end. This design may indicate its significant utility and importance in daily life and social ceremonies. Additionally, the motifs on these samples of Tabarzin are often composite, incorporating various elements. These motifs included floral, geometric, inscriptional, human, and animal designs utilized simultaneously in a single piece. The diversity of these designs reflected the cultural and social influences of that time and showcased the artistic richness and aesthetics of Qajar art. Ultimately, the motifs of Qajari Tabarzin can be categorized into three main groups: 1) floral and geometric motifs, including flowers, leaves, complex patterns, and ornamental borders; 2) inscribed motifs, comprising Arabic phrases, Persian poetry, and the names of the commissioners; 3) human and animal motifs with the depictions of human figures and various animals such as lions and snakes. According to these findings, it can be concluded that the most prevalent motifs in the studied samples of Tabarzin belong to the floral and geometric categories, reflecting the artistic and cultural tastes of that time. These results highlight the close connection between art, culture, and society during the Qajar era.
Conclusion
Considering the artistic and social conditions of the Qajar period, this era is described as a transitional phase from tradition to modernity. Influenced by the Industrial Revolution in the West, traditional Iranian industries also underwent significant transformations. During this period, the use of firearms in warfare became prevalent; however, cold weapons, including Tabarzin , continued to be utilized as a symbolic weapon in various contexts. In this article, sixteen samples of Tabarzin from the Qajar period have been examined. All of these pieces are made of steel and were constructed using the casting method. Various techniques such as engraving, gold plating, and carving were typically employed for their adornment and decoration. These samples have been classified into four main groups: those with double-edged blade, with single-edged blade and hammer-shaped end, those with single-edged blade and dragon-shaped end, and finally those with single-edged blade and crown-shaped end. The motifs on these samples of Qajari Tabarzin can be categorized into three main groups: floral and geometric, inscribed motifs, and human and animal motifs. In these examples, floral and geometric motifs have been predominant, indicating a focus on decorative and artistic aspects in the creation of these works. By investigating the influence of Tabarzin in Iranian literature and its application as a weapon, we find that during the Qajar period, Tabarzin was regarded as a symbolic tool representing power and courage in the context of Sufism. Overall, the form and motifs of Tabarzin in this period have overshadowed their primary functional use, reflecting a transformation in the social and cultural significance of Tabarzin in Iran.
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