پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 967 |
| تعداد مقالات | 8,010 |
| تعداد مشاهده مقاله | 13,573,764 |
| تعداد دریافت فایل اصل مقاله | 9,616,381 |
سیر تحول فرهنگی در زیورآلات هندوستان از عهد باستان تا دوران استعمار | ||
| جلوه هنر | ||
| مقاله 9، دوره 16، شماره 2 - شماره پیاپی 43، شهریور 1403، صفحه 116-129 اصل مقاله (1.39 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jjh.2023.42859.1933 | ||
| نویسندگان | ||
| زهرا مهدی پور مقدم* 1؛ شهریار شکرپور2 | ||
| 1دکتری هنرهای اسلامی، دانشکده هنرهای صناعی، دانشگاه هنر اسلامی تبریز، تبریز، ایران، نویسنده مسئول. | ||
| 2استادیار دانشکده هنرهای صناعی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. | ||
| چکیده | ||
| زیورآلات؛ رسانه‌ای که نه تنها، بازتابی از توانگری، بلکه به عنوان یکی از کهن‌ترین عناصر فرهنگی-تمدنی هر اجتماعی به شمار آمده است. در این راستا، زیورآلات هندوستان، صرف‌نظر از جنبه‌ی زیبایی، دارای ارزش نمادینی بوده و با نقش‌مایه‌ها و مؤلفه‌هایی که، ریشه در باورها و مناسبات فرهنگی جامعه‌ی متکثر آن داشته، بیانگر سنت، هویت تاریخی و فرهنگ غنی شبه قاره می‌باشند. بنابراین، در این پژوهش برآنیم تا با مطالعه‌ی تاریخی آنها، به مؤلفه‌های شکل‌دهنده‌ی آن بپردازیم که، روابط فرهنگی چگونه در تولید زیورآلات هندوستان بروز پیدا کرده است؟ هدف، شناخت و تبیین جریان‌های فرهنگی در شکل‌گیری زیورآلات هندوستان و نیز دستیابی به اصلی‌ترین و مهم‌ترین عناصر و بن‌مایه‌های آن، بوده است. یافته‌ها، به روش توصیفی-تحلیل محتوا انجام گرفته‌اند که بیان می‌کنند، مؤلفه‌هایی برگرفته از فرهنگ‌ها، یعنی، حضور عناصر فرهنگِ «مغولی (هندو-اسلامی)»، «بریتانیا»، «ایرانی» و «یونانی» عهد باستان در قالب بن‌مایه‌هایی سازنده در شکل‌گیری صورتِ زیورآلات هندوستان اثرگذار بوده‌اند. این مؤلفه‌ها به عنوان جنبه‌ی ذاتی فرهنگ شبه قاره، سبب شده تا محتوای زیورآلات علاوه بر فرهنگ بومی، مدیون حضور فرهنگ دیگری نیز باشند. در واقع، زیورسازان هندی، همواره زیورآلات را به یاری مؤلفه‌هایی شکل داده‌اند که عناصر و مفاهیم خود را از بافتارهای فرهنگی جامعه به عاریت گرفته است. جامعه‌ای با حضور هم‌زمان فرهنگ‌های مختلف که، اصولاً این فرهنگ‌های پیشین در هندوستان حذف نشده، بلکه نوعی امتداد در بطن تحولات تاریخی-فرهنگی آن وجود داشته است. | ||
| کلیدواژه‌ها | ||
| کلید واژه‌ها: روابط فرهنگی؛ زیورآلات؛ هندوستان؛ تحولات تاریخی | ||
| موضوعات | ||
| هنرهای تجسمی و کاربردی | ||
| عنوان مقاله [English] | ||
| The Cultural Evolution Of Indian Jewelry From Ancient Times To The Colonial Era | ||
| نویسندگان [English] | ||
| Zahra Mehdipour Moghaddam1؛ Shahryar Shokrpour2 | ||
| 1PhD of Islamic Arts, Faculty of Islamic Crafts, Tabriz Islamic Art University, Tabriz, Iran, Corresponding Author. | ||
| 2Assistant Professor, Faculty of Islamic Crafts, Tabriz Islamic Art University, Tabriz, Iran. | ||
| چکیده [English] | ||
| From the past until now, jewelry as a tool to express beauty indicates the desire of early humans to adorn themselves, to be more beautiful, and to show surrounding objects much prettier in their life that gave much importance to it. Jewelry has been considered a cultural- civilization or class symbol of any society, which not only reflects adornment and wealth, but also indicates cultural changes throughout the history. In general, since the formation of civilized human communities, the art of jewelry making has been a crucial component of the cultures of societies to the extent that the desire to decorate has been observed in every civilization. In this regard, the Indian subcontinent, as a country full of precious stones and jewel, has always been the center of commercial communications of ornaments, especially gold and precious stones. Indeed, Indian jewelry that its use dates back to more than 5000 years ago as a part of an ancient civilization, regardless of the ornamental element that has enhanced the beauty and wealth of the dwellers of the subcontinent, it expresses the concept of sanctity and their beliefs, as well as strength and health for its owners. In other words, "Alamkara" is a term in the Sanskrit language and it is also dating back to Vedic period, which has a meaning beyond the concept of beauty. Thus, this shows the point that Indian jewelry has a symbolic value beyond the concept of beauty, which is rooted in the beliefs and cultural relations of the pluralistic society of India. It can be said that one of the distinguishing features of Indian jewelry is its form and themes. Indeed, many aspects of the culture of the people of that country have been transferred to the audience via the themes, and as a sacred symbol, it indicates individual identity and the social status of those using it. Therefore, it can be stated that the important and distinctive forms and elements of these jewelries are an intrinsic component of Indian culture, which have an importance beyond apparent adornment and decoration. For Indians, in fact, jewelry is considered as a complement to their traditional clothes, which has magical power in order to obtain a good destiny and future, it and eliminate evil and cure diseases. In general, the most important reasons for the attention of Indian residents to jewelry from ancient times is as follows: the desire for beauty, communication, protection of the individual and his family, religious and ethnic beliefs, the tendency to achieve a high social status, showing power and self-sufficiency, cure illness, symbol of happiness and marital status, etc. Hence, suggesting these issues in jewelry is possible using metals, especially gold, all kinds of special designs, roles and patterns, which express the tradition and culture of the people of the subcontinent. Therefore, the present study attempts to take into account the constituent components in the jewelry of the subcontinent with their historical study, and to know how the cultural relations have emerged in the production of Indian jewelry. So, the goal is to recognize and explain these cultural trends and also to find the main and most important elements and basics that have played a crucial role in the formation of Indian jewelry. The findings of the present study are collected based on the descriptive-content analysis method using cultural relations in India and the library method is also used and the cultural processes in the formation of ornaments from ancient times to colonial times has been considered. In this research, it is attempted to examine the role of culture in the existence of Indian jewelries in three parts: ancient, medieval and colonial, by considering the historical order of the formation of governments. It is worth to mention that the dating of ancient Indian ornaments is very difficult because, on the one hand, the styles and designs continued to exist in each period with little changes. On the other hand, considering that in historical periods, they were often melted for reuse or looted and destroyed after invading tribes. Thus, due to the lack of documentary evidence in this field, it can be stated that the most reliable documents and evidence to recognize the ornaments of the early periods of ancient India can be found in statues, wall paintings and ancient texts of the subcontinent. So, the studied works and samples in this research are selected on the basis of purposeful sampling strategies, works from various states of India only from gold metal. Finally, 9 examples of the important ones have been selected and analyzed. From the past, Indians have believed that most of the ornaments used should be made of metals, especially gold, because otherwise, it has no importance in terms of treatment and increasing awareness. Generally, in Indian culture, gold is considered sacred and auspicious as jewelry, especially religious and ritual types, and has the ability to refine and is considered a symbol of health, wealth and Lakshmi (Hindu goddess). The findings of the present study examined the ornaments of India from ancient times to the colonial era as a part of an ancient civilization, and it was found that the jewelry of the subcontinent has been regarded more than ornamenting the body throughout the history. In the traditional culture of India, jewelry has had a special position among its people due to its relationship with wealth, health, being immune from disasters, the medium of prayers worshipping gods and goddesses, and as considering it as offering of vows to the gods, it has always transferred many aspects of the culture of the people of India to its audience. The historical trends, the culture spread and the change in the thought, lifestyle and taste of the society in the continent has affected the formation of new jewelry styles. Artists have always attempted to create a work that is in accordance with the Indian society culture, because, ornaments with their theme in any society can reflect the cultural identity of the society. Hence, there have been major developments in making Indian jewelry, and the effects of the Hindu-Islamic culture, British rule, and the industrial revolution can be highly visible in the works of Indian artisans. As a result of the British colonization of India and the weakening position of the Hindu cultural identity, and the integrated culture of the Mughal era, we have encountered some changes in the design style. However, after the independence movement of India, with the revival of national traditions, artists have once again applied traditional and historical elements affected by the past culture, as well as the combined Mongolian style along with the western culture. Indian artists have formed the world of jewelry using components that have borrowed their components, elements and concepts from the cultural contexts of the plural Indian society. A community with the simultaneous presence of different cultures as the previous cultures in India has not been removed, but they have been formed along with its historical and cultural developments. India as a country with different cultures and people, there has always been a mixture of different cultures, thoughts and interpretations of beauty in the role, the method of making and the style of its jewelry. As a result, elements and components taken from cultures, namely the presence of elements of "Mughal (Hindu-Islamic)", "British", "Iranian" and "Greek" cultures of ancient times, in the form of constructive themes in the formation of sub continental ornaments has shown that the content of ornaments, besides the indigenous culture of India, has also been affected by the presence of other cultures as well. Therefore, they can be considered as cultural media reminding the rich culture of the subcontinent and the changes that have been made in different periods of civilization in this country. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Cultural Relations, Jewelry, India, Historical Developments | ||
| مراجع | ||
منابعقرآن کریم. ترجمه مهدی الهی قمشه‌ای. تهران. قلم و اندیشه.
اهتمام، حامد. (1392). بررسی الگوهای ارتباطات میان‌فرهنگی اسلام و مسیحیت با تأکید بر قرآن کریم. پایان‌نامه کارشناسی ارشد. رشته تبلیغ و ارتباطات فرهنگی. دانشکده علوم سیاسی. اجتماعی و تاریخ. دانشگاه باقرالعلوم (ع).
ایونس، ورونیکا. (1381). اساطیر هند. ترجمه باجلان فرخی. تهران. اساطیر.
بارکر، کریس. (1396). مطالعات فرهنگی؛ نظریه و عملکرد. ترجمه مهدی فرجی و نفیسه حمیدی. تهران. پژوهشکده مطالعات فرهنگی و اجتماعی.
برانسون، اسکار تی. (1391). زیورآلات هندی. ترجمه مینا مهدلو. تهران. برگا.
بلالی‌مقدم، آلاله. (1392). بیان مفاهیم در طراحی جواهرات. فصلنامه علمی- آموزشی و پژوهشی. سال 1. شماره 3. 40-33.
پورجعفری، محبوبه. (1396). بررسی تاریخ‌نگاری در هند از ورود اسلام تا گورکانیان. پایان‌نامه کارشناسی ارشد. رشته تاریخ تشیع. دانشکده ادبیات و علوم انسانی. دانشگاه ایلام.
چترجی، مانیتی، روی، آنیتا. (1389). تاریخ فرهنگ و تمدن هند. ترجمه رضا آقابابا دستجردی. تهران. سبزان.
چیت‌ساز، شقایق. (1398). مطالعه روابط گفتمانی موتیف‌های زیورآلات معاصر. پایان‌نامه دکتری. رشته پژوهش هنر. دانشکده هنر. دانشگاه الزهرا (س). تهران.
دادور، ابوالقاسم، منصوری، الهام. (1390). درآمدی بر اسطوره‌ها و نمادهای ایران و هند در عهد باستان. تهران. کلهر و دانشگاه الزهرا.
ذکرگو، امیرحسین. (1372). ردپای هنر ایران در فرهنگ هند. نامه فرهنگ. شماره 10 و 11. 137-130
ذکرگو، امیرحسین. (1385). هنر دینی در آینه متون کهن هند و آراء کوماراسوامی. فصلنامه خیال. شماره 20. 23-4
ذکرگو، امیرحسین. (1394). اسطوره‌شناسی و هنر هند. تهران. مؤسسه تألیف، ترجمه و نشر آثار هنری متن.
رحمانی، جبار. (1391). مناسک و آیین‌های شیعی در هند. تهران. خیمه.
روجک، کریس. (1390). مطالعات فرهنگی. ترجمه پرویز علوی. تهران. ثانیه.
سیاری، نادیا. (1396). بررسی تأثیر هنر اسلامی هند بر هنر هندویی.پایان‌نامه کارشناسی ارشد. رشته پژوهش هنر. دانشکده علوم پایه و فناوری‌های نوین. دانشگاه آزاد اسلامی واحد الکترونیکی تهران.
شیمل، آنه ماری. (1386). در قلمروی خانان مغول. ترجمه فرامرز نجد سمیعی. تهران. امیرکبیر. مجتبائی، فتح‌الله. (1389). پیوندهای فرهنگی ایران و هند در دوره اسلامی. ترجمه ابوالفضل محمودی. تهران. مؤسسه پژوهشی حکمت و فلسفه ایران.
مرزبان، پرویز. (1386). خلاصه تاریخ هنر. تهران. شرکت انتشارات علمی و فرهنگی.
معین، محمد. (1364). فرهنگ فارسی. جلد 2، تهران. چاپخانه سپهر.
ولایتی، رحیم. (1393). تحلیل تأثیرپذیری امپراتوری موریائی هند از هنر معماری هخامنشیان. فصلنامه مطالعات شبه قاره دانشگاه سیستان و بلوچستان. دوره 6. شماره 19. 174-179.
هالاید، مادلین، گوتس، هرمان. (1391). تاریخ هنر ایران (4)؛ هنر هند و ایرانی- هند و اسلامی. ترجمه یعقوب آژند. تهران. مولی.
یاقوتی، سپیده، دادور، ابوالقاسم. (1399). مطالعه تطبیقی سیر تحول و تطور زیورآلات ایران در دوره هخامنشی و اشکانی. فصلنامه جلوه هنر. سال 12، شماره 4. 109-97.
References
Quran. Translated by Mehdi Elahi Ghomshei, Tehran: ghalam and andisheh, (Text in Persian).
Ali Sayed, N. (2015). Mughal jewellery; A sneak peek of jewellery under Mughals, India: partridge.
Bala Krishnan, U. R (2001). Jewels of the Nizams, New Delhi: department of culture, goverment of India.
Bala Krishnan, U. R. (2001). Jewels of the Nizams. New Delhi: department of culture, government of India.
Bala Krishnan, U. R, Kumar, M. S. (2001). Indian jewellery, Dance of the peacock, India: India book house limited.
Balali Moghaddam, A. (2013). Expressing concepts in jewelry design, pajouheshehonar, 1 (3), 33- 40, (Text in Persian).
Barker, Ch. (2017). Cultural studies: theory and practice, Translated by Mehdi Faraji & Nafiseh Hamidi, Tehran. iscs, (Text in Persian).
Barnard, N. (2008). Indian jewellery; The V&A collection, New Delhi: Timeless book.
Basham, A. L. (2011). The wonder that was India, New York and London: Grove press.
Bhandari, V. (2015). Jewelled textile- gold and silver embellished cloth of India, New Delhi: books international.
Bhushan, J. B. (1964). Indian jewellery, ornaments and decorative design, D. B. taraporevala sons.
Branson, O. T. (2012). Indian jewelry. Translated by Mina Mahdlo, Tehran. Barga, (Text in Persian).
Carvalho, Pedro Moura (2010). Gems and jewels of Mughal India, London: The nour foundation.
Chandra, B. (1971). Modern India, New Delhi: National council of educational research and training.
Chatterjee, M., Roy, A. (2010). History of Indian culture and civilization, Translated by Reza Aghababa Dastjerdi. Tehran: Sabzan, (Text in Persian).
Chitsaz, S. (2019). Studying the Discoursive relationships of contemporary jewelerys’ motifs, Ph.D dissertation, Faculty of Art, Alzahra University, (Text in Persian).
Dadvar, A., Mansouri, E. ( 2011). An introduction to the myths and symbols of Iran and India in ancient times, Tehran: Kalhor and Alzahra University, (Text in Persian).Dave, Dushyant. (2013). Significance of motifs in Kundan- Meena jewellery, Abeer research journal, 1- 8.
Ehtemam, H. (2013). Holy Koran\'s Pattern in the Cultural Communication of Islam and Christianity, M.A dissertation, Baqir al-Olum University. (Text in Persian).Hallide, M., Goetz, H. (2012). Iranian art history (4); Indo-Iranian- Indo-Islamic art, Translated by Yaghoub Azhand, Tehran: mola, (Text in Persian).
Ions, V. (2002). Indian mythology, Translated by Farrokhi ,Tehran: Asatir, (Text in Persian).
Jenkins, Marilyn, Keene, Manuel. (2012). Islamic jewelry in the Metropolitan museum, New York: The Metropolitan museum of art.
Kaur, P. (2012). Women and jewelry- the traditional and religious dimensions of ornamentation, Research gate: 2- 15.
Khalid, K. (2015). Gems & jewels of India (socio political study within historical coontext), JRSP, Vol 52, No 1, 27- 55.
Marzban, P. (2007). A summary of the history of art, Tehran: Elmifarhangi, (Text in Persian).
Moin, M. (1985). Persian Dictionary, Vol 2, Tehran: Sepehr, (Text in Persian).
Mojtabai, F. (2010). Hindu Muslim cultural relations, Translated by Abolfazl Mahmudi, Tehran: Iranian Research Institute of Philosophy, (Text in Persian).Nigam, M. L. (1999). Indian jewellery, New Delhi: Roli books.
Peers, D. M. (2013). India under colonial rule 1700- 1885, London and New Delhi: Routledge.
Pourjafari, M. (2017). Historiography in India from arrival of Islam up to the Mughal period, M.A dissertation, Faculty of Humanities, Ilam University, (Text in Persian).
Rahmani, J. (2012). Shi'a rituals and rituals in India, Tehran: Kheime, (Text in Persian).
Rani, P, Singh, V. (2013). Traditional to contemporary Indian jewellery: a review, GRA (Global research analysis), Vol 2, No 1, 87- 88.
Rojek, C. (2011). Cultural studies, Translated by Parviz Alavy, Tehran. Sanieh, (Text in Persian).
Sayyari, N. (2017). Study of Islamic art effect on Hindu art in India, M.A dissertation, Islamic Azad University, E- Branch. (Text in Persian).
Schimmel, A. (2007). Im Reich der Großmoguln (German), Translated by Samiee, Tehran: Amir Kabir, (Text in Persian).
Stronge, S, Smith, N, Harle, J. C. (1988). A golden treasury: Jewellery from the Indian subcontinent, New York: Rizzoli international publications in association with the Victoria and Albert museum and Grantha corporation.
Toomy, Ting, Chung, L. C. (2012). Understanding intercultural communication, New York: oup.
Velayati, R. (2014). The Analysis of Indian Muria Empire affected from Achaemenid’s architecture art, Journal of Subcontinent researches, 6(19), 149- 174, (Text in Persian).
Yaghouti, S., Dadvar, A. (2021).A Comparative Study of Iran during the Achaemenid and Parthian change and evolution jewelry, Journal of Glory of Art( jelve-y-honar ), 12(4), 97- 109, (Text in Persian).Zekrgoo, A. H. (1993). Nameh Farhang, 10, 11, 130- 137, (Text in Persian).
Zekrgoo, A. H. (2006). Religious Art in ancient Indian texts and Coomaraswamy's ideas, Khyal, 20, 4- 23, (Text in Persian).
Zekrgoo, A. H. (2015). Indian Mythology and art, Tehran: matn, (Text in Persian).
| ||
|
آمار تعداد مشاهده مقاله: 724 تعداد دریافت فایل اصل مقاله: 231 |
||